Under the title, "ABSTRACTIONS", Miguel Marcos Gallery presents an exhibition project which brings together the work of five artists linked to the Gallery and with outstanding career in the international scene.
They belong to a generation of educated artists, teachers and theorists of aesthetics, who have grown, in arithmetic progression, in a time of prosperity and technical possibilities. A possibility applied to a space / time, whereby foggy landscape and the gestural power of Herbert Brandl, the expressionist gestures full of power and determination of Xavier Grau, the pictorial bas-reliefs of Hollingsworth, the daring Schnabel pastiches or the pictorial labyrinths of Uslé become mutually reinforced and complemented.
Five abstract proposals after overcoming the dichotomy between abstraction-figuration that design a current scene of the main pictorial tendencies, beyond the isms.
Herbert Brandl (Graz, Austria, 1959). Austrian abstract painter. He studied at The Academy of Fine Arts Vienna and he works as a professor at the Düsseldorf School of Art. He participated in the IX Documenta of 1992 and at the Venice Biennale in 2007. His studies, almost scientific, of the color and structure of space, allow Brandl to explore the perceptual limits that abstract forms, made from filling various layers of oil, produce in the spectator. His work is part of museums and public collections such as the Albertina Museum (Vienna, Austria), Bank Austria Kunstforum Vienna (Vienna, Austria), MAM Musée d'Art Moderne de la Ville de Paris (Paris, France), Museum Frieder Burda (Baden-Baden, Germany) or Kunsthalle Bern (Bern, Switzerland).
In Untitled, the artist through various techniques and formats, always concerned with the transformation of the motif into colorful spatial and structural formations and also the opposition between form and content, represents the image as an optical illusion which moves between abstraction and the figuration; between the color explosion and the appearance of a spectacle that seems natural.
Xavier Grau (Barcelona, Spain, 1951). His work reflects a deeply study of the pictorial act, translated into nervous gestures that embody an always active struggle between the creator and his canvas. Grau, is diverted towards an abstraction that keeps an internal tension between the color and the drawing unchanged, without reducing its chromatic vivacity or the movement of its surfaces, which are contained by the rhythm of the forms that articulate its internal structure. His work is part of museums and public collections such as the Los Bragales Collection (Santander), Collection of Contemporary Art "La Caixa" (Barcelona), MACBA Museu d'Art Contemporani de Barcelona (Barcelona) or MNCARS, National Museum Center of Art Queen Sofia (Madrid).
In Bone Black IV, Grau builds the picture in a process of overlays: the strokes and the color planes overlap in successive applications so the final result reveals the different layers of pigment that have been superimposed. His painting is a succession of skins that overlap each other; a process of correction or redefinition whereby the last line is reworked by another one.
Dennis Hollinsworth (Los Angeles, USA, 1956).
Bachelor of Architecture, in the nineties, he began his pictorial work in the framework of the new expressionists of the West Coast. His work is characterized by the unusual use of oil as bas-relief, his vivid but elaborate basic colors, and by the "alla prima" technique: without corrections or glazes. His work is part of museums and collections such as the MoCA Museum of Contemporary Art (Los Angeles, USA) and the PAMM Pérez Art Museum of Miami (Miami, USA).
In his work . . . the answer to everything… the content is perfectly planned before starting to be painted, and at the same time, the artist improvises on the initial drawing, getting a fresh set, with a balanced composition full of color. In the picture it is also seen the large thicknesses of oil that Hollingsworth applies to the canvas and the forms he gives to them, similar to "hedgehogs." So the oil becomes a fleshy, voluptuous, organic and highly sensual material that practically reaches the category of sculpture.
Julian Schnabel (New York, USA, 1951). American painter and filmmaker. His training was peculiar: he abandoned surfing and combined his artistic studies with the work of a chef. He frequently traveled to Europe, where he was very impressed by the work of Gaudí, Cy Twombly and Joseph Beuys. In his works he presents a baroque attitude inspired by the coexistence of abstraction and figuration in neo-expressionism, an artistic movement that is considered the greatest exponent. In his painting, concepts such as obsession, sexuality, death, redemption and faith are introduced. His work is part of museums and collections such as MoMA, the Museum of Modern Art (New York, USA) and the Whitney Museum of American Art (New York, USA), MNCARS, National Museum of Art Center Reina Sofía (Madrid) or the Georges Pompidou Center (Paris, France).
The exposed work Christ's last day is a transcendental vision of the relationship between art and life, in a context of artistic sensitivity that links the artist's most intimate emotions with the pictorial material which refers to anthropomorphic elements: the vision of the human body from inside.
Juan Uslé (Santander, Spain, 1954). He is one of the most outstanding artists of the generation of painters who since the late eighties occupy much of the international critical attention. Uslé's lyrical abstraction conveys a vision of the poetic and personal world. His paintings form an excellent space for dialogue, in which the viewer enters in a space maze, perfectly directed and articulated. His work is part of museums and public collections such as the Center Georges Pompidou (Paris, France), Los Bragales Collection (Santander), Contemporary Art Collection "La Caixa" (Barcelona), MNCARS National Museum Reina Sofía Art Center (Madrid), Musèe d'Art Moderne (Luxembourg, Luxembourg), Moderna Museet (Stockholm, Sweden), Museum Boijmans van Beuningen (Rotterdam, Netherlands), Staatsgalerie Moderner Kunst (Munich, Germany) or Tate Modern (London, United Kingdom).
In Cita Aperta, the artista captures, in a way, light phenomena similar to those that we can see when moving the head quickly or when trying to establish a kind of geometry from the superposition of diverse planes, including shadows or reflexes; Although his work is not all reasoning and it is found winks to memory, emotions, chance and dreams.