Untitled Painting

From 2010 on he believed on the concept of being a Radicant as theorized by Nicolas Bourriaud. He imagined the artist that builds roots in many places and keeps on building them to connect to the rest of the world while experimenting with the limits of art where capital modernism amounts to a form of complicity with colonialism and Eurocentrism. His unique and continually evolving artistic practice, which variously incorporates video installations and performances, has persistently defied the status quo. His research for recouvrement continue during the last few years of his production where works comprises a canvas cloaked in a thin or thick layer that obscures the painted surface below. Since Pablo started painting, he has developed a powerful and singular body of work, which constantly questions the very practices of painting. He tried to capture a singularity in paintings by seizing the relationship between the sensible world with nature in the larger sense and the collective memory on which we all base our identities. With his graphite paintings, there was a hope for a landscape, a primeval forest represented to explore the identity of our civilization but it ended up being the aura of an entropic landscape. It was orienting us to nature, to the cosmos, the unmeasurable, something that seems close, something far, something infinite. His last figurative subjects were forests and landscapes of wild hills. Landscapes drawn or painted on the pattern at the hills of Andalusian Spain, or Korea’s wild landscapes, as well as imaginary forests made with graphite pigments where representation started to fade naturally. The line is supported, the tree trunks are drawn and organized in their multitude, shrouded in the darkness of the material. Thus, in the beginning, there is the line, the drawing, then the jet, the splash and the spreading of the graphite powder which is placed as a veil of constellations on the drawing. Everything is matter of stratum, recovery and erasure. The work bathes in the darkness and the black silvery glow peculiar to graphite, revealing depths and abysses. If sometimes the suffocation is not far, it always remains a window for the apparition; the gaze finally penetrates the game of overlays to reach the depths of the forest. It is this confrontation of perception and subject that may lead to the sublime.

Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:36.2 W x 28.7 H x 0.8 D in

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