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MINERAL POETICS Nature seeps into art through the materials that make it possible. From this point of view, I am not so much interested in "pictorial matter" as in the strict sense of the word, but rather in the element itself. This is how matter is introduced into my work: firstly,through the addition of pigments, and lastly through their subtraction. My works are generated following a parallel process to that of nature in the conformation of its textures and forms. The four natural elements - water, earth, fire and air - are the components that serve as the basis for the creation of my “pictoesculturas". The mineral pigments and the lands I choose are eroded and transformed into the work through these tools. It is the only way to create something natural and which appears to be unaltered by man. Like poetry, my work is conceived in a world of ideas; but unlike poetry, it doesn’t use words but rather appeals to natural elements to reproduce a new natural reality. I’m looking to create something that is real in itself; that doesn’t require any type of explanation. It is about bringing to life the invisible forces that govern Mother Nature —extractingher essence. Nature isn’t abstract, each element is designed to carry out a corresponding purpose. It’s role in our life is hard to predict. Why are certain shapes drawn in the sand and not others? Where is the secret that makes the mud crack, forming clear geometric and proportional figures? I confess that inspiration rarely strikes me when working. When I am commuting, I only have to concentrate for the images to appear in my head and engrave themselves on my retina. Afterwards, I develop a more appealing idea in my mind and resolve the technical issues that occur when translating them into three dimensions. After jotting these ideas down, I then save them for a future project. My favourite base material to use is wood. It allows me to carve it before working on it and it is sufficiently resistant to hold a large amount of material and water. The making of the wooden frames is a very important step for me, since during this stage I can sculpt the “skeleton” that will later carry the “skin” of the artwork: the pictorial layer. A highly elaborated frame of the appropriate size and model will define how the paint and the canvas merge into one. The paint and clay used for painting and modelling are also of my own manufacture, thus certain of their origin and purity. The pure powder pigments are hydrated with water and ground in the mortar to later be mixed with vinyl or acrylic resins. Through this method, I can vary the proportions to get a round crackle, mineral crystallizations or a subtle velvety surface. The modeling of the compositional forms of the work is done with vinyl clay on the wooden frame. But it´s not all about control and supervision. There is also a notorious space reserved for luck... When the paint is mixed and the frame is ready, all that´s left is to provide the right environment for everything to happen. The music chosen for the execution of the work is a primordial factor in its development, as well as in my conception of artistic work. This is a moment of great excitement for me: the one in which the work creates itself. It´s clear to me that the work is something different from myself, separate from me. I give it the freedom to be what it embryologically already is. The artist is only the medium. I don't think I would trade this experience for anything. It's the one that encourages me to keep creating and the one I wanted to share with the audience in my occasional live performances. The emotions provoked by attending the birth of a new three-dimensional piece, as alive as reality itself, are the triggers in those moments of the longed-for catharsis. When this happens, we are immersed in a state of mental and spiritual purification. If one thing is clear to me in those moments, it is that creation responds to my life, and my life, to creation. After many years of technical preparation, and having briefly passed through most artistic styles, I consider that this is the line that best suits my personality and the one in which I am fully realized. Only by being a perfectionist with certain material and technical aspects of the work, can I allow myself to give free rein to my emotions and throw myself into the void. Sometimes, some of my pictoesculturas are inhabited by a human presence or by signs, fragments or constructions that the human being has left behind. They are figures at a scale of 1:220 or 1:160. The scale is a crucial part of the content of the work, because, thanks to it, we are shown oversized. Nature then reveals itself in its true dimension. This "little observer" contemplates the surroundings in absolute solitude—interacting with Nature. They will be able to feel sublimated or to eventually fight against it, not to let themself be dragged by the force of the elements. Under certain circumstances, they will appear as a passive spectator, while in others, they will become a victim of the surrounding environment. The traces that this little adventurer leaves in the artwork are hardly noticeable, which will lead us to speculate about their avatars and destiny. However, at other times the intruders appear inhabiting the interior of some polyhedron, like a pharaoh inside its pyramid. This tiny human presence goes almost unnoticed in the eyes of the real spectator, who sees the work from a certain "respectful" distance. Thus, the observer will resemble a God who contemplates their creation from above; and the "little observer" will, in turn, become an "observed observer".
MINERAL POETICS Nature seeps into art through the materials that make it possible. From this point of view, I am not so much interested in "pictorial matter" as in the strict sense of the word, but rather in the element itself. This is how matter is introduced into my work: firstly,through the addition of pigments, and lastly through their subtraction. My works are generated following a parallel process to that of nature in the conformation of its textures and forms. The four natural elements - water, earth, fire and air - are the components that serve as the basis for the creation of my “pictoesculturas". The mineral pigments and the lands I choose are eroded and transformed into the work through these tools. It is the only way to create something natural and which appears to be unaltered by man. Like poetry, my work is conceived in a world of ideas; but unlike poetry, it doesn’t use words but rather appeals to natural elements to reproduce a new natural reality. I’m looking to create something that is real in itself; that doesn’t require any type of explanation. It is about bringing to life the invisible forces that govern Mother Nature —extractingher essence. Nature isn’t abstract, each element is designed to carry out a corresponding purpose. It’s role in our life is hard to predict. Why are certain shapes drawn in the sand and not others? Where is the secret that makes the mud crack, forming clear geometric and proportional figures? I confess that inspiration rarely strikes me when working. When I am commuting, I only have to concentrate for the images to appear in my head and engrave themselves on my retina. Afterwards, I develop a more appealing idea in my mind and resolve the technical issues that occur when translating them into three dimensions. After jotting these ideas down, I then save them for a future project. My favourite base material to use is wood. It allows me to carve it before working on it and it is sufficiently resistant to hold a large amount of material and water. The making of the wooden frames is a very important step for me, since during this stage I can sculpt the “skeleton” that will later carry the “skin” of the artwork: the pictorial layer. A highly elaborated frame of the appropriate size and model will define how the paint and the canvas merge into one. The paint and clay used for painting and modelling are also of my own manufacture, thus certain of their origin and purity. The pure powder pigments are hydrated with water and ground in the mortar to later be mixed with vinyl or acrylic resins. Through this method, I can vary the proportions to get a round crackle, mineral crystallizations or a subtle velvety surface. The modeling of the compositional forms of the work is done with vinyl clay on the wooden frame. But it´s not all about control and supervision. There is also a notorious space reserved for luck... When the paint is mixed and the frame is ready, all that´s left is to provide the right environment for everything to happen. The music chosen for the execution of the work is a primordial factor in its development, as well as in my conception of artistic work. This is a moment of great excitement for me: the one in which the work creates itself. It´s clear to me that the work is something different from myself, separate from me. I give it the freedom to be what it embryologically already is. The artist is only the medium. I don't think I would trade this experience for anything. It's the one that encourages me to keep creating and the one I wanted to share with the audience in my occasional live performances. The emotions provoked by attending the birth of a new three-dimensional piece, as alive as reality itself, are the triggers in those moments of the longed-for catharsis. When this happens, we are immersed in a state of mental and spiritual purification. If one thing is clear to me in those moments, it is that creation responds to my life, and my life, to creation. After many years of technical preparation, and having briefly passed through most artistic styles, I consider that this is the line that best suits my personality and the one in which I am fully realized. Only by being a perfectionist with certain material and technical aspects of the work, can I allow myself to give free rein to my emotions and throw myself into the void. Sometimes, some of my pictoesculturas are inhabited by a human presence or by signs, fragments or constructions that the human being has left behind. They are figures at a scale of 1:220 or 1:160. The scale is a crucial part of the content of the work, because, thanks to it, we are shown oversized. Nature then reveals itself in its true dimension. This "little observer" contemplates the surroundings in absolute solitude—interacting with Nature. They will be able to feel sublimated or to eventually fight against it, not to let themself be dragged by the force of the elements. Under certain circumstances, they will appear as a passive spectator, while in others, they will become a victim of the surrounding environment. The traces that this little adventurer leaves in the artwork are hardly noticeable, which will lead us to speculate about their avatars and destiny. However, at other times the intruders appear inhabiting the interior of some polyhedron, like a pharaoh inside its pyramid. This tiny human presence goes almost unnoticed in the eyes of the real spectator, who sees the work from a certain "respectful" distance. Thus, the observer will resemble a God who contemplates their creation from above; and the "little observer" will, in turn, become an "observed observer".
MINERAL POETICS Nature seeps into art through the materials that make it possible. From this point of view, I am not so much interested in "pictorial matter" as in the strict sense of the word, but rather in the element itself. This is how matter is introduced into my work: firstly,through the addition of pigments, and lastly through their subtraction. My works are generated following a parallel process to that of nature in the conformation of its textures and forms. The four natural elements - water, earth, fire and air - are the components that serve as the basis for the creation of my “pictoesculturas". The mineral pigments and the lands I choose are eroded and transformed into the work through these tools. It is the only way to create something natural and which appears to be unaltered by man. Like poetry, my work is conceived in a world of ideas; but unlike poetry, it doesn’t use words but rather appeals to natural elements to reproduce a new natural reality. I’m looking to create something that is real in itself; that doesn’t require any type of explanation. It is about bringing to life the invisible forces that govern Mother Nature —extractingher essence. Nature isn’t abstract, each element is designed to carry out a corresponding purpose. It’s role in our life is hard to predict. Why are certain shapes drawn in the sand and not others? Where is the secret that makes the mud crack, forming clear geometric and proportional figures? I confess that inspiration rarely strikes me when working. When I am commuting, I only have to concentrate for the images to appear in my head and engrave themselves on my retina. Afterwards, I develop a more appealing idea in my mind and resolve the technical issues that occur when translating them into three dimensions. After jotting these ideas down, I then save them for a future project. My favourite base material to use is wood. It allows me to carve it before working on it and it is sufficiently resistant to hold a large amount of material and water. The making of the wooden frames is a very important step for me, since during this stage I can sculpt the “skeleton” that will later carry the “skin” of the artwork: the pictorial layer. A highly elaborated frame of the appropriate size and model will define how the paint and the canvas merge into one. The paint and clay used for painting and modelling are also of my own manufacture, thus certain of their origin and purity. The pure powder pigments are hydrated with water and ground in the mortar to later be mixed with vinyl or acrylic resins. Through this method, I can vary the proportions to get a round crackle, mineral crystallizations or a subtle velvety surface. The modeling of the compositional forms of the work is done with vinyl clay on the wooden frame. But it´s not all about control and supervision. There is also a notorious space reserved for luck... When the paint is mixed and the frame is ready, all that´s left is to provide the right environment for everything to happen. The music chosen for the execution of the work is a primordial factor in its development, as well as in my conception of artistic work. This is a moment of great excitement for me: the one in which the work creates itself. It´s clear to me that the work is something different from myself, separate from me. I give it the freedom to be what it embryologically already is. The artist is only the medium. I don't think I would trade this experience for anything. It's the one that encourages me to keep creating and the one I wanted to share with the audience in my occasional live performances. The emotions provoked by attending the birth of a new three-dimensional piece, as alive as reality itself, are the triggers in those moments of the longed-for catharsis. When this happens, we are immersed in a state of mental and spiritual purification. If one thing is clear to me in those moments, it is that creation responds to my life, and my life, to creation. After many years of technical preparation, and having briefly passed through most artistic styles, I consider that this is the line that best suits my personality and the one in which I am fully realized. Only by being a perfectionist with certain material and technical aspects of the work, can I allow myself to give free rein to my emotions and throw myself into the void. Sometimes, some of my pictoesculturas are inhabited by a human presence or by signs, fragments or constructions that the human being has left behind. They are figures at a scale of 1:220 or 1:160. The scale is a crucial part of the content of the work, because, thanks to it, we are shown oversized. Nature then reveals itself in its true dimension. This "little observer" contemplates the surroundings in absolute solitude—interacting with Nature. They will be able to feel sublimated or to eventually fight against it, not to let themself be dragged by the force of the elements. Under certain circumstances, they will appear as a passive spectator, while in others, they will become a victim of the surrounding environment. The traces that this little adventurer leaves in the artwork are hardly noticeable, which will lead us to speculate about their avatars and destiny. However, at other times the intruders appear inhabiting the interior of some polyhedron, like a pharaoh inside its pyramid. This tiny human presence goes almost unnoticed in the eyes of the real spectator, who sees the work from a certain "respectful" distance. Thus, the observer will resemble a God who contemplates their creation from above; and the "little observer" will, in turn, become an "observed observer".
MINERAL POETICS Nature seeps into art through the materials that make it possible. From this point of view, I am not so much interested in "pictorial matter" as in the strict sense of the word, but rather in the element itself. This is how matter is introduced into my work: firstly,through the addition of pigments, and lastly through their subtraction. My works are generated following a parallel process to that of nature in the conformation of its textures and forms. The four natural elements - water, earth, fire and air - are the components that serve as the basis for the creation of my “pictoesculturas". The mineral pigments and the lands I choose are eroded and transformed into the work through these tools. It is the only way to create something natural and which appears to be unaltered by man. Like poetry, my work is conceived in a world of ideas; but unlike poetry, it doesn’t use words but rather appeals to natural elements to reproduce a new natural reality. I’m looking to create something that is real in itself; that doesn’t require any type of explanation. It is about bringing to life the invisible forces that govern Mother Nature —extractingher essence. Nature isn’t abstract, each element is designed to carry out a corresponding purpose. It’s role in our life is hard to predict. Why are certain shapes drawn in the sand and not others? Where is the secret that makes the mud crack, forming clear geometric and proportional figures? I confess that inspiration rarely strikes me when working. When I am commuting, I only have to concentrate for the images to appear in my head and engrave themselves on my retina. Afterwards, I develop a more appealing idea in my mind and resolve the technical issues that occur when translating them into three dimensions. After jotting these ideas down, I then save them for a future project. My favourite base material to use is wood. It allows me to carve it before working on it and it is sufficiently resistant to hold a large amount of material and water. The making of the wooden frames is a very important step for me, since during this stage I can sculpt the “skeleton” that will later carry the “skin” of the artwork: the pictorial layer. A highly elaborated frame of the appropriate size and model will define how the paint and the canvas merge into one. The paint and clay used for painting and modelling are also of my own manufacture, thus certain of their origin and purity. The pure powder pigments are hydrated with water and ground in the mortar to later be mixed with vinyl or acrylic resins. Through this method, I can vary the proportions to get a round crackle, mineral crystallizations or a subtle velvety surface. The modeling of the compositional forms of the work is done with vinyl clay on the wooden frame. But it´s not all about control and supervision. There is also a notorious space reserved for luck... When the paint is mixed and the frame is ready, all that´s left is to provide the right environment for everything to happen. The music chosen for the execution of the work is a primordial factor in its development, as well as in my conception of artistic work. This is a moment of great excitement for me: the one in which the work creates itself. It´s clear to me that the work is something different from myself, separate from me. I give it the freedom to be what it embryologically already is. The artist is only the medium. I don't think I would trade this experience for anything. It's the one that encourages me to keep creating and the one I wanted to share with the audience in my occasional live performances. The emotions provoked by attending the birth of a new three-dimensional piece, as alive as reality itself, are the triggers in those moments of the longed-for catharsis. When this happens, we are immersed in a state of mental and spiritual purification. If one thing is clear to me in those moments, it is that creation responds to my life, and my life, to creation. After many years of technical preparation, and having briefly passed through most artistic styles, I consider that this is the line that best suits my personality and the one in which I am fully realized. Only by being a perfectionist with certain material and technical aspects of the work, can I allow myself to give free rein to my emotions and throw myself into the void. Sometimes, some of my pictoesculturas are inhabited by a human presence or by signs, fragments or constructions that the human being has left behind. They are figures at a scale of 1:220 or 1:160. The scale is a crucial part of the content of the work, because, thanks to it, we are shown oversized. Nature then reveals itself in its true dimension. This "little observer" contemplates the surroundings in absolute solitude—interacting with Nature. They will be able to feel sublimated or to eventually fight against it, not to let themself be dragged by the force of the elements. Under certain circumstances, they will appear as a passive spectator, while in others, they will become a victim of the surrounding environment. The traces that this little adventurer leaves in the artwork are hardly noticeable, which will lead us to speculate about their avatars and destiny. However, at other times the intruders appear inhabiting the interior of some polyhedron, like a pharaoh inside its pyramid. This tiny human presence goes almost unnoticed in the eyes of the real spectator, who sees the work from a certain "respectful" distance. Thus, the observer will resemble a God who contemplates their creation from above; and the "little observer" will, in turn, become an "observed observer".
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INCANDESCENTE Painting

Pin Vega

Spain

Painting, Acrylic on Wood

Size: 35.4 W x 35.4 H x 1.2 D in

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Originally listed for $4,700
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About The Artwork

Esta obra simboliza la manifestación en la superficie de la corteza terrestre de el epicentro de un movimiento sísmico. Las obras de Pin Vega están creadas para los amantes de la naturaleza, las personas capaces de admirar la belleza existente en la naturaleza. Los craquelados existentes en sus piezas a menudo nos alertan sobre la vulnerabilidad del ser humano ante las fuerzas de la naturaleza y de cómo el hombre muchas veces desafía estas fuerzas exponiéndose a grandes peligros.

Details & Dimensions

Painting:Acrylic on Wood

Original:One-of-a-kind Artwork

Size:35.4 W x 35.4 H x 1.2 D in

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When he was just a child, as a christening or as a harbinger of artistic experience you would experience as an adult, during a vacation in the swamp of Guadalmellato in the province of Córdoba, PIN decided to dive into the deep waters of this reservoir for unmask the mystery of strange formations clay mineral composition from the shore that were introduced in the water under the strong character of a vein mineral. After your swim initiation, plunged again. But not this time in the shallower waters of academia, resulting in numerous outstanding and Honours in the Faculty of Fine Arts in Madrid Studied in four intensive years of the five career lasting, perhaps precipitated by their desire for independence within the art scene. Studied Fine Arts in photography with Cristina García Rodero and Matilde Muzquiz, audiovisual sculpture and three years, ending specialty degree in painting in 1992. Already in 1990 after feeling prepared technically and mentally decided to introduce in the academic art that he occupies today and that feels irrevocably drawn. Later also devoted to teaching drawing him especially expansive creativity of children. Exhibited for three consecutive years in different cities of Germany falling in love with your color palette and its velvety finish that stage the German public, which keeps a fond memory. Specific pigments selected for their works suggest the most basic human concerns. Pigments of the highest quality and purity, and preferably, due to its purist technical preparation of mineral origin. At first only worked with essentially warm colors and matte finishes but in their evolution eventually incorporate most beautiful blue, bright finishes, emulating water surfaces and the present absolute green, as the color of life. His work presents a language recognized by everyone, a timeless mystical perception. As happens in nature all depends on how you look and what you want to see that it is something mystical. The spaces you'll discover below, are illusory spaces but analogies with real spaces, realities in themselves. PIN, attracted by the unknown seeks to create mystery through elements such as emptiness, darkness and the unknown.

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