Esta exposición se centra en obra mayoritariamente inédita a pesar de que se incluyen algunas obras significativas de los últimos años para mostrar el hilo conductor del nuevo proyecto.
We can locate the genesis of the last series in investigations of historical vanguards. They were not only breaks the space in the plane of pictorial representation, but also the overflow space itself, entering a drift towards the study of objectuality paint, but not "in" painting. Hence the Proun space outside El Lisitsky vitally important to understand that order of David Barro positions mentioned in the introductory text, the paint could acquire or at least interpret.
And of course, all hybridizations of the decades of the years 1920 to 1930, back to Malevich, also inspiring or instigator of the new Flexia series, in addition to the known formal trials of other artists, called escultopinturas O pintoesculturas, corner reliefsEtc., which usually they emerged as temporary constructions and neologisms caused not only strange, but also "foreign objects". To me this suggested the advance of painting by methodological and object side, rather than the side of the image or subjective representation. Hence objectuality proposing reductions Malevich with color and shape in their square and simple shapes, were the beginning of the direct relationship of painting with materiality and objectivity. Plane being the "degree zero of painting", as until then it was known, he only had to put the counter back on track and start speculating with it as in his day was done with the projection and representation the forms and the world of ideas.
But these initial extreme conditions, this almost metaphysical reductionism, does not become limiting, but quite the opposite; starting stringent conditions are an incentive for exploration of a territory apparently without an afterlife, inert, inhospitable and exclusive.
In this scenario, the black, red or white, flat suggests to me a new path for exploration: fold it, fold down, bend, compress it. And it is the operative principle which results in the series of shots bent, articulated, retractable. And certainly the black square on white background appearing in the historical exhibition of Malevich 0.10, was the most iconic, archetypical and representative work of this reduction. Hence the title of "black folding Square".
The new series called FLEXIA poses a continuity regarding the use of the plane, the color and the line has been a constant in the previous series, but with a feature that makes these new works a turning point. The concept is inspired FLEXIA folding flat and changing substrates and procedures. The works that will be exhibited are the result of a long research on new methodologies and technical processes applied to the artistic field.
Also the way my series moving in that research forms, geometry and plane, there is a lot of rhizome growth Barro observes, for everything has a phylogenetic sense conscious, since the strangeness of the new creations should be understood as a resurgence from a common body, which after maturation gives new avenues of growth to maintain the same DNA through successive formal changes.
The works of recent FLEXIA series are the result of that exploration and claim for themselves the appearance of icon or uniqueness that has any object or experience that is beyond comprehension. They are created as creatures of a new world, still subject to recognition astonishment, unable to find patterns that become familiar objects.
And finally, is the impact, the punctum, in relation to that latency which made mention of Roland Barthes, making the works are set in attention and from there enter the world of ideas, to be recognized, interpreted compared or dialogued.
But do not forget that, as in the endless thread of history, everything is myth and collective narrative updated.
Toño Barreiro. Valencia, January 2019