Madre Pintura / Mother painting

1978-2002

Madre Pintura

Mother painting

1978-2002

Mother Painting 22
| 83 x 170,5 x 70 cm. | Tinta grasa, barnices y tornillería sobre tela y madera + estructura metálica | Antoni Socías, 1978-2002
Mother Painting

Madre Pintura comenzó a plantearse ya en el año 1978, habiendo pasado por sucesivos estadios límbicos. Su andadura objetual, no obstante, comienza en mil novecientos noventa y nueve. M.P. es un trabajo que, como tantos otros dentro de la obra de Antoni Socias, se remonta desde muy atrás, desde épocas en las que ésta tenía una apariencia bien distinta. M.P., pues, es un proceso que ha tenido que desarrollarse paralelamente a otros procesos de concepción y/o planteamientos diferentes. En Socias la obra es su propio proceso; lo dice él mismo y lo han dicho de él no pocos teóricos del arte. De este modo, los desarrollos que en ella, y a través de ella, tienen lugar, se alternan y conviven en el tiempo, dando sus frutos en los momentos más inesperados, o cuando las circunstancias son propicias para ello.

Madre Pintura podría en cierto modo ser considerada como un homenaje a la pintura -la gran madre de todos los procesos de este artista-, origen de una vida dedicada al arte, y trasfondo de gran parte de la trama urdida en ella. En este sentido, M.P. trata de esto mismo, de pintura, aunque no se afana en buscar soluciones en ella, sino a partir de ella, utilizándola como materia prima de un desarrollo que va más allá del, en principio, previsible, discurso metalingüístico.

En Madre Pintura se utilizan “maneras antiguas”, especialmente en los acabados, lo que contrasta abiertamente con la solución final; para demostrar positivamente que nada está muerto, como dicen por ahí, ni siquiera la pintura, y que siempre hay nuevas soluciones para plantear el hecho artístico.

Desde el punto de vista técnico, cabe añadir que Antoni utiliza para Madre Pintura procesos pictóricos mecánicos; procesos automatizados que se fraguan, en este caso, en el vientre de una gran rotativa offset de alto rendimiento.

Madre Pintura comenzó a plantearse ya en el año 1978, habiendo pasado por sucesivos estadios límbicos. Su andadura objetual, no obstante, comienza en mil novecientos noventa y nueve. M.P. es un trabajo que, como tantos otros dentro de la obra de Antoni Socias, se remonta desde muy atrás, desde épocas en las que ésta tenía una apariencia bien distinta. M.P., pues, es un proceso que ha tenido que desarrollarse paralelamente a otros procesos de concepción y/o planteamientos diferentes. En Socias la obra es su propio proceso; lo dice él mismo y lo han dicho de él no pocos teóricos del arte. De este modo, los desarrollos que en ella, y a través de ella, tienen lugar, se alternan y conviven en el tiempo, dando sus frutos en los momentos más inesperados, o cuando las circunstancias son propicias para ello.

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Mother painting began to arise already in 1978, having passed through successive stages of limbic. Its object path, however, begins at thousand nine hundred and ninety-nine. M.P. is a work, like many others in the work of Antoni Socias, dating from the very back, times in which it had a very different appearance. M.P., therefore, is a process which has had to develop in parallel to other processes of design and/or different approaches. Members work is its own process; says it himself and not a few art theoreticians have said it. Thus, developments in it, and through it, taking place, alternating and coexisting in time, paying off at unexpected moments, or when circumstances are conducive to this.

Mother painting could somehow be considered a tribute to the painting - the great mother of all processes of this artist-origin of a life devoted to art, and background of much of the plot hatched in her. In this sense, h.b. is this same painting, though it strives not to seek solutions in it, but after it, using it as a raw material development which goes beyond the, in principle, predictable speech metalinguistic.

ther painting uses "old ways", especially in the finishes, which contrasts openly with the final solution; to positively prove that anything is dead, as they say over there, not even the painting, and there are always new solutions to raise the artistic act.

From the technical point of view, it should be added that Antoni uses mother painting painters mechanical processes; automated processes that will devise, in this case, in the belly of a large rotating high performance offset.

Mother painting began to arise already in 1978, having passed through successive stages of limbic. Its object path, however, begins at thousand nine hundred and ninety-nine. M.P. is a work, like many others in the work of Antoni Socias, dating from the very back, times in which it had a very different appearance. M.P., therefore, is a process which has had to develop in parallel to other processes of design and/or different approaches. Members work is its own process; says it himself and not a few art theoreticians have said it. Thus, developments in it, and through it, taking place, alternating and coexisting in time, paying off at unexpected moments, or when circumstances are conducive to this.

...
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Mother painting began to arise already in 1978, having passed through successive stages of limbic. Its object path, however, begins at thousand nine hundred and ninety-nine. M.P. is a work, like many others in the work of Antoni Socias, dating from the very back, times in which it had a very different appearance. M.P., therefore, is a process which has had to develop in parallel to other processes of design and/or different approaches. Members work is its own process; says it himself and not a few art theoreticians have said it. Thus, developments in it, and through it, taking place, alternating and coexisting in time, paying off at unexpected moments, or when circumstances are conducive to this.

Mother painting could somehow be considered a tribute to the painting - the great mother of all processes of this artist-origin of a life devoted to art, and background of much of the plot hatched in her. In this sense, h.b. is this same painting, though it strives not to seek solutions in it, but after it, using it as a raw material development which goes beyond the, in principle, predictable speech metalinguistic.

ther painting uses "old ways", especially in the finishes, which contrasts openly with the final solution; to positively prove that anything is dead, as they say over there, not even the painting, and there are always new solutions to raise the artistic act.

From the technical point of view, it should be added that Antoni uses mother painting painters mechanical processes; automated processes that will devise, in this case, in the belly of a large rotating high performance offset.

eng/cast
Madre Pintura 23
| Galería Marlborough | Madrid, junio de 2004
Mother Painting 1
| 169 x 87,5 x 61 cm | Tinta grasa y barnices sobre tela + estructura metálica | Antoni Socías, 1978-2002
Mother Painting 2
| 56 x 163 x 7,3 cm | Tinta grasa, esmalte, barnices, barras metálicas y tornillería sobre tela y madera | Antoni Socías, 1978-2002
Mother Painting 4
| 70 x 100 x 7 cm | Tinta grasa, esmalte y barnices sobre tela y cristal | Antoni Socías, 1978-2002
Mother Painting 5
| 170 x 131 x 7 cm | Tinta grasa, esmalte y barnices sobre tela | Antoni Socías, 1978-2002
Mother Painting 6
| 50,5 x 187 x 7 cm | Tinta grasa y barnices sobre tela y placas prefabricadas de yeso | Antoni Socías, 1978-2002
Mother Painting 7
| 40 x 110 x 9 cm | Tinta grasa, esmalte, barnices y torrnillería sobre tela y madera | Antoni Socías, 1978-2002
Mother Painting 9
| 250 x 80 x 8,5 cm. | Tinta grasa, esmalte y piezas de zinc sobre tela y madera | Antoni Socías, 1978-2002
Mother Painting 11
| 18,4 x 111 x 13 cm | Tinta grasa y barnices sobre tela + estructura metálica | Antoni Socías, 1978-2002
Mother Painting 14
| 102 x 128 x 14 cm | Hammerite, tinta grasa y barnices sobre tela y madera + estructura metálica | Antoni Socías, 1978-2002
Mother Painting 15
| 102 x 128 x 14 cm | Hammerite, tinta grasa y barnices sobre tela y madera + estructura metálica | Antoni Socías, 1978-2002
Mother Painting 17
| 61 x 44,5 x 7 cm | Tinta grasa y barnices sobre tela y madera + vinilo sobre cristal | Antoni Socías, 1978-2002
Mother Painting 18
| 52 x 47,5 x 7 cm | Tinta grasa y barnices sobre tela y madera + vinilo sobre cristal | Antoni Socías, 1978-2002
Mother Painting 23
| 400 x 550 cm (dimensiones variables) | Tinta grasa y barnices sobre tela y madera | Antoni Socías, 1978-2002
Madre Pintura Truncada
| 84 x 302,5 cm | Tinta grasa sobre tela y madera + Hammerite, grafito y cemento sobre papel | Antoni Socías, 1978-2002

Mother painting began to arise already in 1978, having passed through successive stages of limbic. Its object path, however, begins at thousand nine hundred and ninety-nine. M.P. is a work, like many others in the work of Antoni Socias, dating from the very back, times in which it had a very different appearance. M.P., therefore, is a process which has had to develop in parallel to other processes of design and/or different approaches. Members work is its own process; says it himself and not a few art theoreticians have said it. Thus, developments in it, and through it, taking place, alternating and coexisting in time, paying off at unexpected moments, or when circumstances are conducive to this.

Mother painting could somehow be considered a tribute to the painting - the great mother of all processes of this artist-origin of a life devoted to art, and background of much of the plot hatched in her. In this sense, h.b. is this same painting, though it strives not to seek solutions in it, but after it, using it as a raw material development which goes beyond the, in principle, predictable speech metalinguistic.

ther painting uses "old ways", especially in the finishes, which contrasts openly with the final solution; to positively prove that anything is dead, as they say over there, not even the painting, and there are always new solutions to raise the artistic act.

From the technical point of view, it should be added that Antoni uses mother painting painters mechanical processes; automated processes that will devise, in this case, in the belly of a large rotating high performance offset.

eng/cast

Mother painting began to arise already in 1978, having passed through successive stages of limbic. Its object path, however, begins at thousand nine hundred and ninety-nine. M.P. is a work, like many others in the work of Antoni Socias, dating from the very back, times in which it had a very different appearance. M.P., therefore, is a process which has had to develop in parallel to other processes of design and/or different approaches. Members work is its own process; says it himself and not a few art theoreticians have said it. Thus, developments in it, and through it, taking place, alternating and coexisting in time, paying off at unexpected moments, or when circumstances are conducive to this.

Mother painting could somehow be considered a tribute to the painting - the great mother of all processes of this artist-origin of a life devoted to art, and background of much of the plot hatched in her. In this sense, h.b. is this same painting, though it strives not to seek solutions in it, but after it, using it as a raw material development which goes beyond the, in principle, predictable speech metalinguistic.

ther painting uses "old ways", especially in the finishes, which contrasts openly with the final solution; to positively prove that anything is dead, as they say over there, not even the painting, and there are always new solutions to raise the artistic act.

From the technical point of view, it should be added that Antoni uses mother painting painters mechanical processes; automated processes that will devise, in this case, in the belly of a large rotating high performance offset.

eng/cast

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