Woman no price Print

Biography: In the small village called Corazón de Jesús, a district near the city of Badajoz, Javier Soto J S was born in a landscape house close to a hermitage. Very soon, the transfer of his parents to Guadalajara and Madrid put the child in touch with the world of art and gardening of which his father was a great lover. The Prado Museum, the Royal Palace, the gardens of Campo del Moro, the close Escorial and the Botanical Garden were spaces that left a deep impression on the mind of that child who manifested, from his early childhood, a clear artistic temperament. Nevertheless, the early death of his father shocked Javier Soto´s course of life in such a way that, when he was barely ten years old, he resolved to relieve the unbearable grief of that absence angrily opressing the creative will which his father had encouraged. Nor his professional studies in delineation, nor the prizes he won for his drawings at school managed to liberate his deep infantile renounce to the cultivation of art. Many years later, throughout a working life that took him from Extremadura to the Canary Islands and from the Canary Islands to Andalusia, he had the opportunity to contact a Cordovan master ceramist and to receive his teachings. It was the touch of mud, the play of pigments, the composition of forms and colors that pushed Javier Soto back to reproducing the artistic impressions of his childhood which he had repressed for years. The impact of colorful gardens, the forms of artworks in the Prado, the frescoes of the Escorial, the Royal tapestries returned to his memory with the same force that he had forgotten the artistic dreams of his childhood. And at the moment his artistic experience and creative will found each other again, the unexpected discovery which is today the basis of his artistic proposal came into being: It is possible to bring the tiles beyond the mosaic in series, turning the enameled tiles in unique artworks. Javier Soto has devoted himself for years to investigating the artistic possibilities of this subject. In this transition, an accident severed his ulnar nerve, which left him without any sensibility his right arm. But the artist was not frightened by this fact and, through will and effort, he managed to learn painting with a practically right insensitive hand.