AARON DUVAL, IÑIGO SESMA, JOSE LUIS CEÑA, MIKEL DEL RIO and SEBAS VELASCO
3 November – 7 December 2017
The photographers of the 19th century, some former painters, sought to assimilate the picture with painting obeying certain compositional artifice and mere formal transposition. They were the pictorialism movement from the beginnings of photography.
Time has been responsible for deleting the nimia story and turn it into universal emotion. Time transfigured into petty or pathetic, the daily photographic record. “This has been”, wrote Barthes, and we present it here.
However, depict life with painting and its evolution is the common place of the coherent selection of the exhibition. Shows painting built from a photographic view, even cinematic, with urban sensitivity, and the desire to transcend the ephemeral.
Intentionality connects the artists, those who resort to the painted image that reveals, and to the material, the oil, wich sets that moment before it’s oblivion. Aaron Duval fills with tragic sense, brilliant metaphor of wild youth, with dense brush strokes full of material. In addition, he knows how to paint light as spark. This dichotomy between the dark (deep black ivory) and light (broken white titanium) continues on Mikel del Rio paintings: subjugates his well produced canvases and raw subjects, night and youth, perhaps alienated.
Sebas Velasco, equaly solvent with any technique, size and surface, also performs murals of astonishing naturalism, expertly integrated in the decayed architecture. Its characters, close heroes, are graffiti writers or significant people to the author. Velasco is always kind with life and its subjects.
Iñigo Sesma, concerned about his social and historical context, apprehends reality (key to all poetry) with the visual images that consumes: analog and digital photographs, movies, cinema and its frames, television, Internet… then reconstructs plastically the digested. The result is paint, skill and thinking.
Jose Luis Ceña paints the joy of life or the strangeness of dreams and the absurd. He doesn’t suffer cromophobia and knows harmonies of adjacent colors, the elegance of purple next to emerald or blues and saturated oranges. The magic of complementary palettes and describes the movement of drawing the gesture of the flat brush. But he has his own secrets. It’s ok like this, without telling. No more.
Universitat Politecnica de Valencia