the need for the infinite. Monochromes in colección olorVISUAL

I just saw some dense, deep and velvety charcoal drawings by José Miguel Pereñíguez. The presence of the black tones that the artist places with mastery on cardboard makes it to cease being a drawing, becoming closer to a monochrome painting instead. Regarding this idea, some classics such as Yves Klein and his golden and blue works, Lucio Fontana, with his wounded white tones, the black ones of Malévich, the McCollum art installations or the works of Agnes Martin, Saura, Morandi or Ellsworth Kelly come to my mind. All in essence have a single dominant color, surface on which tensions, enchantment, complexities, problems or serenity occur.

The exhibition is composed of selected artworks from the fantastic and personal collection that has been called colección olorVISUAL. It aims to explore the significance that these works get when seen in common with those others previously mentioned, what they do share.

The collection shows a great complexity and also reveals the followed freedom in the criteria for its conformation. Within this complexity a constant characteristic is observed: the number of non-monochrome works in the strictest sense that share the monochrome tendency. Seen as a whole the works become isolated rather than relating to each other.

They are autonomous entities that claim our attention from the wall or the base. In the set of artworks we can appreciate some comic (Gabriel, J.M. Othoniel), introspective (S. Bruggëmann, E. Bechtold, C. Alcolea), dramatic (C. García-Rodero, J. Fontcuberta), physical (M. Chirino, P. Cera, Equipo 57), virtual (C. Sandison, D. Canogar), ironic (A. Agrela), or structural references (A. Caro, P. Palazuelo, M. Navarro), among other suggestions.

We would have to ask the spectator for calmness while seeing the artworks to be able to smell -the main objective of the collection- and savor them. The one that seems to be the simplest piece can surprise us by its complexity, and the subtlest (in appearance), by its insolence, and in the same way which seems to be harder, can show us its kinder side. The monochromatic? aspect of each piece requires us to pay an extra attention, to try to delve into its plasticity in reference to emotions. These are artworks not easily revealed.

One of the purposes that we should embed in any exhibition is to arouse the curiosity of the observer and cause surprise or, at least, reflection and debate. On this occasion, the variety of disciplines and new languages comprised in the exhibition will not leave its visitors indifferent. Some pieces will impress us, others may leave us indifferent, but perhaps a second glance will disclose its real meaning, its essence.

Rafael Ortiz

Curator exhibition