ARAOZ, Ciudad Autónoma de Buenos Aires, 1981
rabbit lies on top of an inflated beach ball. Hollow upon hollow.
An everlasting and painless eternity. Im talking about
pain. About pain that is no longer felt. About my inability
of verbalizing an ending. About an expansive hole in the thorax
that holds an eternal echo.
animals that stage vengeances and manoeuvres. They are on the
edge / precipice of what is present /absent. Being that were.
Animals that are without being.
oozing quietness in a sugar palace. There, vengeance, sadness
and anger are entwined and create a constellation that rocks
on my bed. Outlines are, skin is outline, skin is edge, beginning
and end. Entrails and fluids are absent, theyre removed,
and, with them, all sensations are taken away from the body.
Its only a distant dream that were trying to evocate.
All kinds of caresses are only a distant nightmare. Greek tragedies,
Walt Disneys fables, woods full of secrets, bazaars full
of colours, sweets, heroes, victims and bandits. They are as
kind as the silence of a cloud. As kind as the destruction of
a whole meadow by a tornado, a loaded gun in the closet, a dozen
of watermelon sweets in the pocket, a tiny insect from whom
we suspect a deadly bite.
BECKERS, Dusseldorf, Alemania. 1971
work is about photographic images that emerge from the darkness
and disappear partly into it again.
"fragments of reality" that can be recognized in the
images reflect human behaviours. The things which are just visible
serve only to trigger off something that exists beyond reproduction
but means the essential. The images can thus only disclose themselves
to the observer himself. They must be completed by the power
of his imagination.
CALDERON, Barcelona, 1972
(Breath) belongs to a series of works around the idea of time.
wants to overlap different layers of time as if time could be
thought as it were an onion. A layer upon another layer shows
two different images: a still time, sedimented, a continuous
and undying present (represented by the drawing) upon another
one that continuously fades away, dilutes and repeats eternally
(video). Stillness and movement.
interior of a room inhabited by untidiness, use, disuse, expiry,
the prescription of objects, books, letters, that, when abandoned
maybe are put on tables and grounds. The stillness of the whole
fades away when a breath invades the room. We can stop or move,
but well never get away of our restricted reality, which
is limited by a specific space and time. The apparent freedom
expressed through the papers flying off is self explanatory
as they fly in circles: nothing is moving.
ESPINACH, Gelida, Barcelona, 1967
of surreal passing through spaces. These scale model spaces
are shown as strange and inhospitable with the help of light
effects. They are imaginary spaces where the interest is focused
in a space that becomes a nowhere, a maze conceived for not
staying and to pass through. With this concept in mind, these
interior spaces like theatres or dollhouses have plenty of doors,
corridors and openings, with the anxiety of not knowing is beyond:
A space we are forced to roam and pass through, without knowing
where our steps will lead us to.
JORDÁ, Valencia, 1963
& Soul. Reflection on the human being duality of body and
soul. Based on the last century common practice of taking photographs
of dead newborn babies in Mexican families, gives the artist
the chance to create a perspective of the memory of their existences.
Fetish portraits and painful icons which oblige us to think
about the brief transition our lives are.
& MEHRA, TIM MASLEN , 1968 Perth Australia. JENNIFER MEHRA,
1970 London UK
works of Maslen & Mehra juxtapose images of moving people
in busy metropolitan streets with vast spaces and landscapes.
The contrast of these enlivened and heightened landscapes with
the silhouettes of the figurative sculptures highlights the
disconnection to nature that occurs in busy urban cities. Closer
scrutiny reveals the gestures of the urban inhabitants: Someone
is seen talking on his mobile phone; another moves with his
heavy backpack through the metropolitan jungle, an obvious inhabitant
of an urban rather than a rural environment. The compositions
contribute to the debate of whether people are a part of or
apart from nature. (Maslen & Mehra, 2005).
MORAN, Badajoz, 1976
is born, as almost anything, from a pure inner need. So, it
is a substrate of life itself that is usually full of compressed
feelings. The pictorial space is, for me, a piece of the mental
space. And this space covers many different spaces. My referrals,
in my case, are often based in nature; they penetrate and blend
themselves in a magma of shapes and colors merging from the
organic. Color, light, wefts, webs, roots: all of them are inner
landscapes. I go into shape and overall in the symbolic elements
that surround me. The eye has to keep its glance in this labyrinth
and get lost in its road. The work that I do is dynamic and
meditative. I work on my obsessions and I understand the artistic
process as a catharsis. The work is based on a dialogue with
nature, evocations and a shared feeling of being one with the
OLIVELLA, Vilafranca del Penedès, Barcelona 1969
Roads to nowhere, uninhabited landscapes that are often insinuated
with poor clarity. The negative of the same image projected
in symmetry. Also industrial indoors out of focus due to a layer
of wax. White walls, large windows, empty spaces. Nothing changes,
only the light that goes through the glasses and reflects the
shadow of the same windows. The movement of the light, displacing
the shadows that move in the same direction. Geometrical shapes
that fade away and that invites us to contemplation and reflection,
and to enjoy the pleasure of observing.
JAUME PARERA, Barcelona, 1970
The videos made by Jaume Parera have been produced one after
the other to give rise to a succession of episodes describing
a process of destruction, degeneration and disintegration. They
exemplify the demounting of the object, where it could be said
that what is under attack is the artists own image or
the mask that he chooses to show us. All of these short pieces
in one way or another return to defeat. Strangely enough, however,
their consistency hinges on their recurring attacks and the
obsessive destruction, as well as ridiculing and making an assault
on what is called self-esteem. Carles Guerra
GISELA RÀFOLS, Vilafranca del Penedès, 1984
I try to make a reflection on fleetingness of life and the role
of people in it as ignored, strange beings that are just passing
through, absurd beings.
LUIS SERZO, Albacete, 1977
Serzo, la química de la quimera. Serzo is the most chimerical
thing we have nowadays in our country, when making reference
to the district of Art. In his installations, in his canvas,
in his collateral tools, in his drawings and photographs, in
his sketches, in his video animations, in all this amazing cartography
and atrezzo, everything is possible. Anything, but the obvious,
the tacky and the superficial. Man only builds, in his secret
chamber, the scaffolding to jump beyond and far away. He designs
his own dream. He stares the clouds. He shapes in a sheet of
paper the arms of his hallucinogenic windmills or the wings
of his gigantic butterflies. He puts a soft armchair on the
top of a peak. He plants a road of almost fluorescent flowers
a road that winds, in the same way the path of beauty
and purity of things does.
Serzos work always sets off from a tale. It is, meaning
it in the best sense of the word, an eminently literary painting.
His Blinky has something from Lindbergh the first man
to cross the Pond- and we suspect a lot more coming from Icharus
this mythological reference to the big Fall. The most
important thing the artist reminds us- is not in the journey,
in our propulsion in time and space, but in the elaboration
of this personal dream, in the sequence of its most significant
images. What really matters lies in the auscultation of this
moan sometimes turned into music- of the spheres, the
first beat of the cosmos. When enjoying his total art, a couple
of lines by Hart Crane come to my mind: A man told the
universe: / Lord, I exist!
a Renaissance creator that is also prone to Baroque and specially
to Romanticism Man in the edge of the world, Man looking
down to the abyss. Some artists paint still-lives still-lives
touched by this dim light of the still objects, almost varnished
In Serzos paintings, time stands still, it freezes the
gesture, but with the difference that this painting the
whole art of the autor- is unceasingly creating the illusion
of movement. As it were born from that vortex of Poes
I often have the impression that his oil paintings were, originally,
darkness quadrants. And nothing else. And that from his brushes,
when they touch that darkness, they spread the light. In the
same way some diseases fill our body with skin rashes, with
mad blood that seems to be exploding under the skin. Serzos
brush needles the light in a canvas made of darkness in a stage
curtain such an appropriate word- that hides the great
stage of shadow that human mind is. The show of the human comedy.
The genius that puts everything at his chimaeras disposal.
The total architect, a great artist and an artisan expert in
the most complicated arts. Serzo knows that beauty from
which his work represents an exciting interpellation- becomes
an impossible obsession and yet vehicular of everything a man
of genius projects and carries out. Jordi LLavina
FLORENCE VAISBERG, Buenos Aires, Argentina. (capital Federal),
My work is the construction of what is being concealed: a generation
that has lost its voice, silenced and dulled by anguish. I capture
this eternal instant before the awakening or the eternal lying.
Sleeping lives, suicidal dreams, pending existences that through
aesthetics get enhanced and endure.