Ocultaciones / Occultations

1990-2022

Ocultaciones

Occultations

1990-2022

Grupo escultórico comprometido
| 100 x 105 x 24 cm | Cuadros atornillados entre ellos | Antoni Socías, 1998-2016

No siempre es tan importante el objeto artístico como todo aquello que se mantiene oculto en la narración directa o indirecta de la trama que propone. La intención, el mensaje, la poesía, el concepto, la perturbación de la propuesta…

Y es por ello que, en ocasiones, es preferible tapar partes de la obra o la obra misma, para poder expresar lo que queda oculto tras el color, los volúmenes o el dibujo.

Los antecedentes de este proceso de trabajo se remontan al año 1976, en la Escuela de Bellas Artes de Barcelona, cuando el entonces estudiante Alfons Sard, compañero de promoción, llevó a cabo en la clase de Pintura una obra objetual titulada “La familia de Carlos IV” que, una vez finalizada, encerró para siempre dentro de una caja de madera hermética e impenetrable. Aquel hecho, en su momento no explicado con claridad por el joven artista, me dejó perplejo, asombrado. Tanto que, desde aquel momento, la intención de ocultar pasó a ser con los años una constante en mi trabajo.

The objet as everything that remains hidden in the direct or indirect narration of the plot that proposed is not always so important. The intention, the message, the poetry, the concept, the disturbance of the proposal...

Which is why sometimes, is preferable to cover parts of the work or the work itself, to express what remains hidden after colour, volumes, or drawing.

The background of this work process go back to in 1976, at the school of fine arts in Barcelona, when the then student Alfons Sard, partner of promotion, carried out in the painting class an object work entitled "The Family of Carlos IV", which, upon completion, locked forever in a sealed and impenetrable wood box. That fact at the time not explained clearly by the young artist, left me puzzled, amazed. So much so that, since that time, intended to hide became over the years a constant in my work.

The objet as everything that remains hidden in the direct or indirect narration of the plot that proposed is not always so important. The intention, the message, the poetry, the concept, the disturbance of the proposal...

Which is why sometimes, is preferable to cover parts of the work or the work itself, to express what remains hidden after colour, volumes, or drawing.

The background of this work process go back to in 1976, at the school of fine arts in Barcelona, when the then student Alfons Sard, partner of promotion, carried out in the painting class an object work entitled "The Family of Carlos IV", which, upon completion, locked forever in a sealed and impenetrable wood box. That fact at the time not explained clearly by the young artist, left me puzzled, amazed. So much so that, since that time, intended to hide became over the years a constant in my work.

eng/cast
Mercedes
| 144 x 120 cm. | Grafito sobre tabla y restos de porexpan enmarcados. | Antoni Socías, 2015
Collage Yaciente
| Ocultaciones | Collage de diferentes obras | 25 x 125 x 160 cm | Antoni Socías, 2007
L.P-M.2
| Ocultaciones | 120 x 150 cm. | Fotografía sobre fotografía y acrílico sobre papel | Antoni Socías, 1990-200
Colección de 6 fotografías nocturnas
| Ocultaciones | Paneles fotográficos y tornillería | 22 x 50 x 50 cm. | Antoni Socias, 1998
Camellero
| Collage sobre fotografía | 125 x 187 cm. | Antoni Socias, 1989
Manuel
| Ocultaciones | Grafito y acrílico sobre panel fotográfico | 50,5 x 75 cm. | Antoni Socias, 1996-1999
Chabola
| Ocultaciones | Madera, clavos y estampación al óleo sobre panel fotográfico |187 x 135 cm. | Antoni Socias, 1991
Pere
| Ocultaciones | Madera, elementos de acero y caucho sobre panel fotográfico | 187 x 125 cm. | Antoni Socias, 1999
Pere (variante)
| Ocultaciones | Fotografía sobre fotografía + collage de marcos de madera | 125 x 187 cm. | Antoni Socias, 2000
Llúcia
| Ocultaciones | Antoni Socías, 2007
Pere
| Ocultaciones | Antoni Socias, 2008
OC1_1299_36
| Panel fotográfico | 75x105 cm. | Antoni Socías, 2001
OC2_0401_16
| Panel fotográfico | 75x105 cm. | Antoni Socías, 2001
OC3_0201_26A
| Panel fotográfico | 75x105 cm. | Antoni Socías, 2001
OC4_1299_33
| Panel fotográfico | 75x105 cm. | Antoni Socías, 2001
OC5_0801_21
| Panel fotográfico | 75x105 cm. | Antoni Socías, 2001
OC6_15_98_3
| Panel fotográfico | 75x105 cm. | Antoni Socías, 2001
OC7_0203_16A
| Panel fotográfico | 75x105 cm. | Antoni Socías, 2001
OC8_0303_11
| Panel fotográfico | 75x105 cm. | Antoni Socías, 2001
OC9_0103_14
| Panel fotográfico | 75x105 cm. | Antoni Socías, 2001
OC10_0802_10
| Panel fotográfico | 75x105 cm. | Antoni Socías, 2001
OC11_0503_34
| Panel fotográfico | 75x105 cm. | Antoni Socías, 2001
OC12_1800_11
| Panel fotográfico | 75x105 cm. | Antoni Socías, 2001
OC13_0403_3
| Panel fotográfico | 75x105 cm. | Antoni Socías, 2001
OC14_0302_28A
| Panel fotográfico | 75x105 cm. | Antoni Socías, 2001
OC15_0702_21A
| Panel fotográfico | 75x105 cm. | Antoni Socías, 2001

The objet as everything that remains hidden in the direct or indirect narration of the plot that proposed is not always so important. The intention, the message, the poetry, the concept, the disturbance of the proposal...

Which is why sometimes, is preferable to cover parts of the work or the work itself, to express what remains hidden after colour, volumes, or drawing.

The background of this work process go back to in 1976, at the school of fine arts in Barcelona, when the then student Alfons Sard, partner of promotion, carried out in the painting class an object work entitled "The Family of Carlos IV", which, upon completion, locked forever in a sealed and impenetrable wood box. That fact at the time not explained clearly by the young artist, left me puzzled, amazed. So much so that, since that time, intended to hide became over the years a constant in my work.

eng/cast

The objet as everything that remains hidden in the direct or indirect narration of the plot that proposed is not always so important. The intention, the message, the poetry, the concept, the disturbance of the proposal...

Which is why sometimes, is preferable to cover parts of the work or the work itself, to express what remains hidden after colour, volumes, or drawing.

The background of this work process go back to in 1976, at the school of fine arts in Barcelona, when the then student Alfons Sard, partner of promotion, carried out in the painting class an object work entitled "The Family of Carlos IV", which, upon completion, locked forever in a sealed and impenetrable wood box. That fact at the time not explained clearly by the young artist, left me puzzled, amazed. So much so that, since that time, intended to hide became over the years a constant in my work.

eng/cast