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SOURCE. THE PAINTING SPACE

 

My long path as an avant-garde painter began in the fifties, as part of one of the richest and freest movements: informalism, which came to meet some of my most emotional needs as a creator: my need for freedom that, at the same time , was a channel for expressing my socio-political concerns. A bridge that allowed me to connect with the avant-garde of my environment and of my time, as well as with the roots of my culture. From that first moment of aesthetic positioning, fundamental for me, I was evolving,
but always trying to maintain a critical vision so as not to fall into possible academicism.

In recent years I have been insisting – in small texts about my work – of my love for painting that was born with my first informalist works, eminently intuitive and passionate, made with the urgency that time, age and theories demanded. An avant-garde that allowed us a fundamental renovation of plastic languages, but always from painting, as a member of a generation that claims, as I have said over and over again, its richness and aesthetic punctuality.

I think the time has come to rescue the space of painting; recover its poetic and metaphorical dimension, its ability to excite us, to fall in love, to vibrate again with that virtual space of painting. Resume the discourse of painting and its ability to communicate, nothing more! and nothing less! Perhaps it is not only the recovery of painting, perhaps it is also searching for the transcendent dimension of the sublime… perhaps reinventing painting? When I have had to talk about my complex evolution and my periods, I have used the simile of a necklace, made up of various beads, like my periods, but always with a common thread that unites them, and that ends up meeting its beginning. I think I am at this point in my search for essentials and work with minimal elements as a means of enhancing its radical nature, very close to my searches of the fifties, but on new materials and concepts.

My works want to be a field of experimentation to search for the essentiality of a few simple brushstrokes: metaphorical gestures of the imprint of man on our reality; footprints, furrows, like those of the Castilian farmer on the ground. Material experience of man who leaves his mark on the world. And behind that reality, on the reverse, fields of color like our eternal landscape of sky-earth, earth-air, horizons that have marked our spaces, and where it is reflected, on the methacrylate support, the glaze of our own reflection. , the integration of our space as part of the same work.

 

Raphael Canogar