“Sunny and shady spots, two concepts that name and explain lights and shadows in the landscape. Slopes that are either exposed to the sunlight or away from it during long periods of time. The luminous white that has a main role in my paintings reflects those sceneries in which the sunny spots prevail. Shadows, unease, or void hide on the inside of those precarious structures, shelters deep into the landscape. To convey these two situations in my work, both physically and materially and from a more spiritual and present way of looking, as well as other dichotomies that I reflect in the images I construct, like fear, pleasure and comfort, is a typical feature in my work.
My images are presented as landscapes that intend to project the strangeness of a forbidden and inaccessible land. The inaccessibility and immensity of nature as triggers of a sort of an indescribable nostalgia, of a hurtful void induced by the contemplation of majesty in all its forms. The autonomous landscape, that rejects the preponderance of the human factor and that recognizes the disengagement between the former and the latter, stands out by its blatant presence. Likewise, this profound split intends to recall in the viewer, not only the destructive sacrifice that looms over us, but also the celebration of an original and primitive beauty.
Years ago, there was room for faces, in fact, they were the main characters, and the landscape in which they were in got reflected as a simple mise-en-scène, literally they were a backdrop. The figure is being gradually fading out until nature has taken over in my latest paintings. Analysing it with perspective, I was able to observe in this process a similar evolution in the presence of landscape across the History of Art.”Text by Irene Sánchez Moreno. Curated by Juan Curto.
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