Ocultaciones
Occultations
1990-2022
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.
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.
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