“DERRIERE LE VIRIDIEN” RUBÉN RODRIGO 2020
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“Derriere le Viridien 10”, Rubén Rodrigo Silguero 2021
Oil on canvas
Measurements: W 180 x D 146 cm
“Rubén Rodrigo's work is a direct heir to the modernist tradition, understood as a process of purification of what is not substantial to the pictorial medium (that is, imitation or the literary). Starting from the division established by Lessing between space arts and arts of time, the critic Clement Greenberg built a sense of modernity linked to the specificity of the medium, which would be reflected in the abstract expressionists of the 1950s. These, in their search for a purely visual experience, hypothetically would be beyond the narrative, the time and, therefore, the time of life. In his rereading of that canonical modernism, Rubén Rodrigo also attends to the achievements that were devalued: for example, the symbolic intention, the stage presence, the record of time or the transcendental dimension of the image. He also works with diptychs, polyptychs or extensive series, an option with which he dislodges the apparently insurmountable imperative of the "last painting" represented, for example, by Ryman's white paintings or Reinhardt's black ones.
In his latest projects, abstract appropriation allows him to hold an interpretive exercise on various chapters of the tradition, from a humble position and open to constant discovery. Thus, El Greco is interested in looking at what constitutes his extravagant rarity, and that will be the subject of numerous historical and critical reviews, especially since Cossío's controversial monograph in 1908. Among his modern fidelities, American Abstract Expressionism and other nearby poetics are inescapable references, as is (neo) figurative painting. by Francis Bacon. "
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"No title"
Resin on wood
Fernando de Ana
If there is an art gene, Fernando de Ana (Talavera de la Reina, 1979) and a graduate in Fine Arts, carries it with him. Since he was born he has been surrounded by oil and pencils, spatulas and turpentine. He belongs to the third generation of a saga of artists that began at the beginning of the 19th century with his great-uncle, José Pérez, painter and first director of the Cádiz Museum of Art, and continued with his father, Juan Carlos Jiménez, also a painter and Doctor. in Fine Arts.
If his ancestors delighted in light and still lifes, Fernando de Ana has also wanted to explore other more contemporary languages, working first as an illustrator - he has received several international awards - and as a cartoonist, to later soak up design and the avant-garde Dutch, a pioneer country in this field, where he combined his artistic work with that of art director for more than a decade. His work has been exhibited in Prague, Bologna, Amsterdam or London, among other cities and has been selected and awarded in different art competitions.
From that transversality of influences and from that symbiosis of classic and avant-garde references, now comes his maturity as an artist. Away from his comfort zone, the artist opts for his own language in which emotions prevail over the metallic. His way of being in the world beats in his work: human relationships marked by sex, loneliness and melancholy, anxiety as a catalyst for art, obsessions spinning in a spiral, repetition of patterns, morbid agitated with tenderness infinite, the frustrated Innocence that still breathes, moving it as a motor. Fernando de Ana's work responds to a mature creative process, built over several decades exploring different formats, where material, meaning and feeling go in the same direction. 'Forbbiden carnal', his elegant series in resin and neon, has already become an exponent by combining without complexes an apparently cold material with geometric limits with the warmth and sensuality of light, in such a way that it has achieved that both elements exchange natures.
The author undresses through this meticulous technique and tells us about his inner world, his contradictions and his fears, all crossed by Eros and Thanatos, pleasure and pain, contradiction as the very genesis of life. Each work of 'Forbbiden Carnal' shows an aspect of sentimental relationships, an instant in the relationship with the other, always complex and necessary: the arrow of first eye contact, one's own vulnerability, seduction as a totem and motor, lies and the decadent, the caress as an antidote to loneliness. Nothing better than resin, color and the symbiosis of geometry with neon to express this entire sensitive universe, which not only seeks to connect with the beauty and the terrible of the viewer, but to seduce him as well.
W 150 x D 7 x H 150
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Photograph "Family Portrait: Nikolaus, Antonius, Cristina, Soraya, Heman, Miguel..."
EDUARDO SOURROUILLE. Eduardo Sourrouille is an artist from Basauri (Bizkaia), born in 1970, with a degree in Fine Arts from the University of the Basque Country. He has had solo exhibitions like "If you could see him through my eyes" at Galerie Krisal, Geneva, Switzerland, and at Villa Edur, Museo Arte Contemporaneo ARTIUM in Vitoria-Gasteiz. He has also participated in significant group exhibitions worldwide, such as Bilbaoarte New York at Fundación Gabarrón, New York, and "Extraños en el paraíso" at Instituto Cervantes, Beijing, Tokyo.
Edition 1/3
Dimensions: W 165 x H 145 cm
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Photograph "Family Portrait: Nikolaus, Antonius, Cristina, Soraya, Heman, Miguel..."
Eduardo Sourrouille 2012.
Edition 1/3
Dimensions: W 165 x H 145 cm
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Magenta color photograph of the series, “Flores de color”, technique with printing on photographic paper.
Monica Sanchez-Robles is a multidisciplinary artist currently living in Madrid, although he has lived for years in France and Italy. She has a degree in Fine Arts from the Complutense University of Madrid, from the BBAA of Granada, does her doctorate studies, continues her training in digital photography at the EFTI School of Photography in Madrid, and did her postgraduate studies at Parsons Paris School of Design in Paris. He has exhibited individually in galleries in Spain and France. In addition, he has exhibited collectively at various exhibitions and fairs in France, Spain, Miami, London and Switzerland.
Measurements: W 146 x D 6 x H 181 cm
Decorative ceramic sculpture model "Coniglieschio" from the series "The Pop Will Eat Himself" designed by Massimo Giacon and edited by Studio Superego.
Measurements: W 22 x D 25 x H 68 cm
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