Dourone, Dulk, Mantra, Telmo Miel, Robert Proch, Arthur Rathur, Joram Roukes, Sckaro, Vesod and Nuno Viegas.
21 June – 24 July 2019
A mighty current in the 21st century painting can be freely enjoyed in the streets. Under it, the Internet and its virtual environment also flows. The degree of sophistication achieved with the crossing of the technical image and urban mural painting is extremely attractive. The superb synthesis is achieved, at least, with three elements: the technical image, elaborated by multiple overlapping layers, to show and hide at the same time, thanks to the editing programs, the parts and the whole of several scenes; the traditional painting, oils or mixed media on canvas, with a high degree of surreal and figurative iconicity.
The photographic and digital nature of the painted image has modified our way of perceiving it, formal and conceptually; the monumental scale of the mural conditions that perception, however, these artists equally master the details of brush drawing and the smaller works.
Dourone knows how to insert the image into the architecture with respect, it does not close-in the composition within the formated space, it lets it breathe; in their canvases, unreality coexists with the fragmentation of the extended pixel, the video error on the screen recreated with acrylic paint and aerosol. Dulk handles his exquisite palette of colors in its three usual formats: any size and surface wall, his delicious three-dimensional figures and the flexible support, paper or canvas: low brow and pop surrealism of high quality and pleasingly rigorous eye-for-detail. Mantra achieves the exaltation of beauty in the neighborhood, between life and death, through portraits and dead natures. Usually representing moths and butterflies that surprise by their scale and delicacy. The artistic duo Telmo Miel strengthen the strangeness of their selectively erased layers, the coexistence of complex creatures in fantastic, epic scenarios and with a certain romantic or comic accent. Robert Proch paints photographed motion, frozen as in snapshots between Dalí and Man Ray. His concept of the space looks for the scorched, vertiginous point of view, and reminds of the central viewpoint of a dome by the maestro Andrea Pozzo. Arthur Ratur and Sckaro a brother duo, play between the two-dimensional planes and the three-dimensional figure. Both focusing the grain with peculiar saturated ranges and diaphanous inks; if the representation of the hands, recurring theme of Raturone, contextualizes and talks about the intentions of the character, the memory of graffiti in Sckaro keeps him cool and motivates his synthesis with classical painting. Joram Roukes has the ability to relate universal issues, personal issues and popular culture, with a touch of black humor; deploying fragmentation strategies and seductive quotations of visual rhetoric. Vesod recognizes that his primordial influence is his father, also a painter, who initiated him in the chiaroscuro and classical proportion. Thanks to the practice of graffiti, and the change of scale, he manages to accelerate his revision of post synthetic cubism, gain strength, originality and sense in his personal vision of painting. Nuno Viegas prefers tribute to the Hip Hop subculture, creative freedom against profit, from the absolute preciseness of the initial sketch and solid construction of the painted motif. He stands out by how he models folds and defines volumes with the aerosol or his own gloved fingers full of paint.
Universitat Politecnica de Valencia