Art Madrid'24 – Aurora Vigil-Escalera Gallery, from Gijón to Art Madrid\'15

Obra de David Rodríaguez Caballero.

 

Aurora Vigil-Escalera Gallery comes to this edition of Art Madrid with work of Luis Feito, David Rodríguez Caballero, Javier Torices, Mariano Matarranz, Pablo Genovés and Rafael Canogar.

 

The hyper-realism that Javier Torices reaches with his paintings seems more the result of a meditated, analytic and detailed study work than a simple image. The brightness and naturalness of sea movement, his scenes of waves and clear beaches, transmit the freshness of the frozen moment, the liveliness of the enclosed movement. This precision in the execution, nevertheless, is not grown into the walls of a study, but it is captured au naturel. Javier Torices is an artist that moves all his belongings there where it is the element that inspires him at every moment. Particularly known by his acrylics in which the sea is a recurrent subject, he has also worked other genres like urban landscapes of big format, many times focused on his birth city: Madrid.

 
 

Javier Torices. Buscando la ola.

 

Pablo Genovés is able to build new universes a mid-way between surrealism and fantasy. The use of photographic technique and the intervention on images with other artistic techniques achieve a surprising and unique result. The Exhibition Room of Canal Isabel II dedicates to this artist a monographic exhibition with pieces from 2009 to 2014, entitled "El ruido y la furia", that will keep opened till the 22th of March, 2015.

Pablo Genovés. Templo del Sol.

 

Aurora Vigil-Escalera starts this year a new phase after more than thirty years sharing the family work of the previous Gallery Van Dyck. In this recently begun 2015 she starts an own space in Gijon (Capua Street, 1), completely dedicated to Contemporary Art, with a clear bet for established and emergent artists, whose work is characterized by its quality and future projection.

 
Luis Feito. Sin título.

 

Francesca Poza. Courtesy of the artist.

ARTE & PALABRA. CONVERSATIONS WITH CARLOS DEL AMOR

Thread is one of the most seemingly fragile materials in existence, yet a combination of threads can be indestructible. It is the triumph of fragility over brute force.

Among its many virtues, thread has its meaning, both real and imagined. It is a word that oozes poetry and makes us think of following a trail, sometimes infinite. Francesca Poza (Mataró, 1965) adds the written word to the many virtues of thread, giving her works a firmness that is always delicate but almost impossible to break. She weaves between letters and memory, pieces that seek to establish what has been lived, to leave a trace in a world that is increasingly ephemeral, more fleeting, more liquid, more elusive. In his work, poetry, literature and time intertwine in a harmonious way, resulting in creations of beautiful originality that are as subtle as they are powerful.

Perhaps Francesca has managed to give an answer to what Carmen Laforet wondered in "Nada", when she said: Who can understand the thousand threads that unite the souls of men and the reach of their words?

The poet reborn. Fabric made with book paper. 2023.

If you had to define yourself as an artist, in one sentence, how would you define yourself?

I could define myself as a multidisciplinary artist who poetizes matter.

The thread even predates the advent of writing, perhaps it's not exact, but I like to think that it began to "write" by spinning... Then came the written word, and in this encounter full of history and ancestors is your work. Spun words, sounds good, doesn't it?

Spun words sound good, the subtlety of the thread that organizes time, the connection, the continuity, the rhythm of literature without reading, because it is a very recurrent phrase in my work, that as the weft is made and unmade, the work and the poetry reappear.

As if they were chains. Fabric made with book paper. 2023.

Why does everyone say that you are unclassifiable? Don't you think we live for labels? It's nice to be difficult to classify. Do you feel like a "freak"?

No, I don't feel like a freak. I like the fact that I am unclassifiable. It's difficult to define me as a sculptor, an engraver, or a weaver. I try to make poetry with the material I have, to make the fragile speak to us, to transport us; the paper as matter and the thread as symbol, to penetrate us.

When one stops in front of your work one has two sensations, well three, one of tranquility, the other two are paradoxical because the first impression is one of fragility, however, after a while you realize that these "threads" are strong because they are united and have made common cause. It's a bit like so many things in life, isn't it?

Yes, that's really what I'm looking for, to express peace and tranquility above all. We are going through very difficult times and I like to express the good that people have inside us.

Testament of Oscar Wilde. Fabric made with book paper. 2023.

Memory is an intimate territory that sometimes betrays us, and forgetting is its main enemy. Is your work against forgetting?

Yes, the art of remembering and forgetting is a recurring theme in my work, because I had and still have the idea that we have to be something, that something has to remain in our memory. So I try to create a poetics that is embodied in different aspects of creativity. You could say that this essence of a series of needs, of leaving a permanent record, is because we don't want to be forgotten, and this is a way I have of expressing myself.

Your work is very poetic... What do you think is impossible to poeticise?

There is nothing impossible, nothing that cannot be poeticised. And yes, my work is poetic, why weave, what for? Poetry and weaving travel in the imagination and come together. Visual art, manual art, in short: poetry.

Music of broken windows.Hahnemühle paper 300gr. 2023.

The thread leaves a trace, the words leave a trace... Your work leaves a trace. Where do you want it to go?

Words leave traces and I want my work to leave traces: the feelings and sensations of the viewer. That the work of art is not just for decoration, but something that when you wake up in the morning, you look at it and you feel different again, that it leaves you with something to feel.

Where do you think your work is going?

My work itself, I don't know where it's going, it leads the way, it guides me day after day. I would like to be able to continue weaving poems that travel in the imagination, to enter and leave through the multiple paths that the material and the feelings take me.