Crómlech : Group eshibit curated by Sema D'Acosta
Fortunately that human thing that prevails linked to an abstract idea or a feeling, is not captured with a photograph and can hardly be understood by scrolling with a mobile phone
Grpup Exhibit featuring: Paz Pérez Ramos, Ignacio Tovar, José María Bermejo, Concha Ybarra, Paloma Gámez, Las Ánimas, Quique Sarzamora, Elena Núñez Mallén.
Curated by Sema D'Acosta
For a painter who avoids the narrative arguments of figuration, the search for his own language from a syntactic point of view is the way forward. Balancing form, colour and light. Taking into account the texture of the surface, the volumes, the edges and even the position of a viewer. The key issue is to know how to maintain a certain tension, to have control over the result, to never abandon a sceptical attitude with each work, which is nothing more than a necessary step to face the next one. Properly understood, a painting should be a testing ground where definitive states are never achieved. One piece leads to another and another and another.... And so on, week after week, month after month. Far from the spotlight, in the solitude of the studio and away from screens. In fact, good paintings are not well interpreted through an interface. Fortunately, the primordial, that human thing that prevails linked to an abstract idea or a feeling, is not captured with a photograph and can hardly be understood by scrolling with a mobile phone. Instagram has advantages and disadvantages for painters. For some it enhances this flatness, especially for those who are committed to visual impact; for others it lessens it, particularly for those who opt for the subtlety of an unintelligible poetics. This type of work that needs a direct relationship with the public, we could link it to the approaches of the English philosopher John Locke, whose main argument held that true knowledge is centred on our experience of things; not in the world itself, but in how we experience the world, an affirmation that places the perception of reality before the RGB substitute promoted by social networks.
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Jose María BermejoMessage number 4, 2018Mixed media on canvas92 x 73 -
Jose María BermejoRed, 2005Mixed media on paper (framed)70 x 100Series: Transmissions
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Quique SarzamoraAmarillo, 2024Handcrafted oil on linen150 x 100 cms
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Quique SarzamoraBodies of the dawn, 2024Handcrafted oil on linen35 x 27 cms
Each piece -
Quique SarzamoraST Azul, 2024Handcrafted oil on linen170 x 120 cms
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Ignacio TovarA mi me lo han preguntado, 2020Acrylic on canvas50 x 61
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Ignacio TovarAl infierno que tu vayas, 2018Acrylic on canvas (diptych)130 x 97 (x2)
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Ignacio TovarCon la raiz del querer, 2020Acrylic on canvas50 x 61
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Paloma GámezBlue Nº6, 2023Acrylic on canvas30 x 30 cm
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Paloma GámezGreen Nº20, 2023Acrylic on canvas30 x 30 cm
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Elena Nuñez MallénBocadillo de pintura, 2023Oil on canvas46 x 61 cm
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Elena Nuñez MallénEn medio de las cosas, 2024Oil on canvas32 x 24 cm
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Las ÁnimasECCI 1, 2024Tapestry, hand truffing, wool and wood140 x 84 cm
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Las ÁnimasINVO 3, 2024Tapestry, hand truffing, wool and wood53 x 43 cm
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Concha YbarraVase with branchesEarthenware, enamel and glaze42 x 27 x 20 cm
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Concha YbarraNo title 4, 2024Tissue paper, cardboard and felt-tip pen
40 x 30 -
Concha Ybarravase with crystalEnamelled mud and oxides35 x 14 x 23 cm
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Paz Pérez RamosS/F 2, 2024Hand-cut cardboard inserted into foam board70 x 50 cm
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Paz Pérez RamosS/F 3, 2024Hand-cut cardboard inserted into foam board49 x 40 cm
Under the curatorship of Sema D'Acosta, renowned Spanish curator, teacher, art critic and researcher, ‘Crómlech’ brings into dialogue works by prominent Andalusian painters with a long career, with other emerging artists who are in the early stages of their careers. The artists included are Paz Pérez Ramos, Ignacio Tovar, José María Bermejo, Concha Ybarra, Paloma Gámez, Las Ánimas, Quique Sarzamora and Elena Núñez Mallén.
All the works selected for this exhibition, in addition to their obvious abstract character, have the disadvantage - to a greater or lesser extent - that they are difficult to reproduce for viewing on the Internet. This incongruity that impedes their correct reproducibility is a detriment that reduces their impact through a website or WhatsApp. Paradoxically, this supposed deficiency for good communication according to the needs of today's virtual world, becomes here an act of rebellion in the face of the senselessness of the mirage that we all live in social networks. To get to know these pieces in their full version, it is necessary to go to the gallery and confront them face to face, as the curator explains.
The exhibition, which will open its doors on 24 May 2024, offers a unique opportunity to get to know a type of pictorial work that moves away from the spectacular and requires a pause to be enjoyed. In fact, it goes in the exact opposite direction to our accelerated daily multitasking. ‘True knowledge is centred in our experience of things,’ said the philosopher John Locke. ‘Chromlech is a reminder of the importance of direct connection with art, beyond the screen and the quick scroll of the thumb.
