12 Aug REFLECTION ABOUT THE EXHIBITION
To exhibit is always a special moment in the work of a painter. The painter, usually, works alone, thinking about what to say and developing the language and the appropriate technique for it.
The receiver of the artwork is thought as an abstract being, still to be born, and is surrounded by all the ideal virtues: they are sensitive, receptive, able to dedicate to the contemplation of an artwork at least a millionth of the attention and the time that the artist invest in making it.
It is expected from public something that goes from the desire, somewhat bastard of that someone purchases any of the painting exhibited –a painting, after all, is a fabricated object submitted to the whims of market- to the sublime pretension that the artwork is shared with the same wild intensity that only seems to be achievable in the mystic experience or in the most glorious moments of love. To ask this to good people that visit the gallery is asking too much, I know, but the artist require from himself the impossible.
To concentrate so many expectations in the little space of a collective exhibition, where you must share meters of wall and attention of the public is similar to having multiple dialogues, with interruptions, overlapping of voices and cacophonies, all competing at once to be heard.
It is not surprising that some of the invited artists has dropped out from the project, but from the profusion and chaos also emerges the harmony of counterpoint and, at least, the ones that participate will learn something about each other and the public maybe can check, one more time, that art, in this case represented by painting, drawing, engraving, ceramic and poetry, still have something to offer, and the fact that doing it in conjunction produces the stimulating conclusion that the collective thing, the different and, sometimes, the apparently conflictive, enhance as human beings.
To insist precisely in the idea of diversity, I have chosen exhibiting eight works of art of very different techniques, dates and intentionalities.
-Books: an abstraction painted in mixed technique, coupled with an etching engraving.
-Image and Ophelia: two drawings of graphite, hyperrealist.
-Cathedral of Valencia: expressionist wax.
-Nudes and Christs: realist painting of big size and classical technique of oil, fillings and glazes.
-Symphony of barbed wire: oil triptych in which I am working at present. Realist painting but without arriving to the microscope and the effectisms so frequently today.