GALERIA VICTOR LOPE

The cult to the curve developed by Jacinto Moros in his work enjoys, as a good production of solid foundations, a prismatic texture through which interpretations and rich metaphors expand. A kaleidoscope that yields formal readings such as the measured abstraction of his embossing or the play of levels that characterizes his wooden sculptures. From these two creative cores, a poetics around movement is born.

The forms flow and the dynamism gathers the main virtues of our sculptural tradition. Whether in terrain such as the plane, present in his graphic work, or in the spatial challenge of the three-dimensional pieces. We are before a meticulous and experienced work in which we notice the paradox of sustained movement, that eternal instant that forgets its origin and its possible ramifications, which although being omnipresent concepts, are not conditioning.

Jacinto’s works exist, they live in the moment, they dialogue amiably with those who contemplate them and even share without vanity the timelessness that nourishes them. Hence, these curves, formal protagonists of his production, feel equally at ease among Euclidean calculations as among the bravest relativist theories.

Juan de la Rica (Bilbao, 1979) is a Spanish painter based in Bilbao who presents us with an imagery far removed from any novelty but which continues to surprise and absorb us with each representation. Close to the sphere of pop artists such as Alex Katz or David Hockney, Juan de la Rica’s pictorial work appears to us as a breath of fresh air, dense and superficial at the same time. The protagonists of his paintings – be they humans, animals, gods or landscapes – are invested with a deep depth, accentuated by the use of colour and the cleanliness of the drawing. However, this introspection is combined with the superficial halo of pop art and a fine irony present in his work.

In his interview for Sirocomag he explores how he vindicates drawing as an enhancer of painting itself. He also clarifies that his themes, so often used in the history of art, are not intended to go beyond their superficial treatment, although he understands that they can be read in new ways.

The marked melancholy of his works is also given by the play of light and shadow, which, far from seeking realism, is the result of his intuition in painting. The contradiction continues, because despite his complex opinion about painting, he does not dispense with irony in his figures.

The ability to give expression to the human form, to convey and translate its language is a skill, which sculptor Mario Dilitz definitely has. He combines traditional sculptural knowledge and technical skills with topical issues and in this way manages to create sculptures of great intensity and appeal.

His work is polarizing. There is a contrast between the aesthetic beauty of his sculptures and the content of the themes, in a profound confrontation with the vagaries of human existence. On the one hand Mario Dilitz manifests the contradictions that occur in human nature, and on the other hand he knows how to unite them in his work. Even his choice of material reveals these contradictions. His sculptures, most of them life-size, are created in high quality laminated wood. After a process of destruction and then construction the wood has reached a new form of stability, which would not be possible in its natural condition.

This process is made visible by the glue joints in the plywood. Mario Dilitz chooses red glue to sign his creations. Mario Dilitz contrasts the aesthetic beauty of his sculptures and the content of the subjects, in a profound confrontation with the vagaries of human existence. His sculptures, most of them life-size, are placed on the same physical plane of the spectator, in an eternal wait to start a dialogue.

Castellví’s art delves into the quiet connection between humanity and the earth, conveyed through richly textured landscapes, both real and imagined. In a foretaste of what is to come, the artist takes us to secluded hilltops, sometimes barren, other times populated by figures that seem to dissolve into the natural world. Blending tradition with a contemporary sensibility, his swift, expressive brushstrokes invite viewers on an introspective journey, exploring the deepest corners of human consciousness.

Castellví received his Fine Arts training in Barcelona and Florence and is also a professor at the Academy of Art in Barcelona. Throughout his career, he has participated in prestigious artist residencies in Austria and China and has been a finalist in multiple editions of the renowned ‘Figurativas’ competition. His work has been exhibited in Italy, Japan, and the United Kingdom, and is included in the collections of the MEAM and the Royal Academy of Fine Arts of Sant Jordi.

The painter Malgosia Jankowska was born in 1978 in Sochaczew (Poland) and studied painting in Warsaw and Berlin. With fine brushstrokes, she contrasts people and nature. She masterfully creates paintings of impressive depth and breadth by alternating translucent and pasty colors. Mysteriously, white light bursts through the tree trunks of some paintings like a white mist.

The filigree lines, together with the softened tones-sometimes restricted to a single color on a white background-are reminiscent of old storybook prints. The scenes Malgosia’s paintings invite us into are like a fairy tale. In a literal sense, the word “fantastic” is also highly symbolic of the repertoire that Jankowska traverses in her painted world and has become a succinct characteristic of her art: The children in the forest, the wolves or the colossal mushrooms are not only visual images of a reality borrowed in the manner of the Brothers Grimm. Malgosia has endowed herself with a set of figures all her own, which she always puts in relation to each other. The child as an emblem of innocence, wandering free in the dangerous forest, reflects a secret world of the subconscious. Nature becomes the space of buried fears and desires.

Clara Adolphs uses anonymous and discarded photographs of markets, deceased heirlooms and online shops as the subject of her paintings. The snapshots show a cosy familiarity: moments of leisure in nature, small social gatherings or scenes of solitude. Recording a lost moment, the found photographs are recreated as paintings. The moments now last forever; the memory continues with infinite possibilities.

Adolphs is attracted to photographs that show a particular light and atmosphere. Intense shadows are representative of dusk and the end of the day; Adolphs finds that they intensify the atmosphere and infuse his subjects with a gentle melancholy. They reflect a particular era of analogue photography: the 1940s to 1960s, when cameras represented light differently and could not store detailed information. Adolphs searches for these indeterminate spaces in the grain of the photographs, intrigued by the lack of visual clarity, which, like memories, can be filled in. In the studio, Adolphs uses muted tones and colours, visible strokes, wet and dry brushstrokes, but above all palette knives, which make quick gestural marks to underline the fleetingness of memories.

Some of his works feature a “couple”, but he still intends them to be seen as a group that shows his world. A disparate world, inspired by unconnected people and places. Clara Adolphs brings them together through her unreal landscape.

As in the nature of photography, repeating and reproducing, from her studio she remakes an original image. In this way he tries to recreate the essence that captured the shot at a particular moment and time.