Miguel Cabezas focuses his work in landscape photography, particularly on coastal views. His images are captured using a range of resources in digital photography, filters and long exposure to light, show enigmatic, even striking scenes that invite the viewer to discover the beauty of the reality that surrounds us and enter a world in which seemingly ordinary things become exquisite.
Xavier Calicó’s evolution as an artist over the years has led his work to traverse different artistic trends, follow surprising criteria and, sometimes, insert itself into generalist currents. After an early period of experimenting with abstraction and figuration, by 1967 the artist created his own language as a reflection of a world in which synthetic forms and colours intermingle beneath a Miró-style conception. However, since the late seventies, his work has undergone a sudden change in direction and allowed itself to be seduced by German neo-expressionism, which leads to a realist figurative sense of no return.
Sergio Calleja essentially uses the technique of acrylics on a linen canvas base. In a style heavily influenced by Ringo Julián, he evolved towards a mono-chromatism (black-white-grey) as a result of observing Franz Kline’s works and Bernd and Hilla Becher’s photographs. Architectural and industrial structures endow his compositions a colossal dynamic character that chafes against the scientific-technical field, since it leads the viewer to reflect on form, analogy, basic structure of a system that starts from anonymity, solitude, like someone who observes a set of elements without noticing any real changes.
With his unmistakable style, Ramon Calsina i Baró is one of the most enigmatic twentieth-century Catalan artists. His often-misunderstood painting is noteworthy for the attractiveness and suggestiveness of the themes, in a kind of magical realism set in the working class Poblenou neighbourhood where he grew up. He also explored drawing, illustrated El Quijote and works by Edgar Allan Poe, among others, and was awarded the Fundació Ynglada-Guillot Drawing Prize in 1964. His work lies outside any artistic currents, his relationship with the art market was always discreet, but with time he garnered greater recognition and, two years before he passed away, he was awarded the Creu de Sant Jordi by the Generalitat de Catalunya (1990).
The early nineties were decisive in the artistic career of Àlvar Calvet, who immersed himself in a work of self-expression and combined his plastic creation with his pedagogical work as an art teacher. The artist insists on the relationship with everyday life, and invites the viewer to participate in order to generate a reaction. His work progresses on to abstraction within compositions of horizontal and vertical lines in which he mixes colours and printed canvases that he guides through geometrical structures whilst at the same time exploring sociology. Two axes that converge in a representation of the active collective and which at times symbolize an abstract replica of a real image or a portrait.
As a result of a synthesis of trends and styles influenced by the first avant-gardes, surrealism, metaphysics, philosophy and literature, Sergi Cambrils’ language demonstrates a great mastery of drawing and mixed media. Dreamlike, fantastic scenes with a prominent element of contradiction and ambiguity whereby the viewer encounters a set of references; by squinting our eyes we are invited to dream and go on a journey in a poetic yet striking world, akin to what Lewis Carroll showed us. However, the balance between extremes is neither static nor perennial, but sometimes leans towards the poignant or obscure and at other times powerful captures the viewer’s gaze.
Contact with nature, a primitive feature of research into an ancestral language, leads to works of art that reflect the struggle between human skill and materials conceived by the Earth. The artist subsumes the matter to his most intimate and obscure desires until he achieves a magical object, akin to a neolithic vestige adapted to the present day. Almost all his works are based on the idea of reconstruction, understood as a kind of puzzle (something that post-modernism has named de-construction). The other aspect is the creation of forms that intertwine, relate and interact with each other to influence and modify the natural or urban space thereby contributing something new. Ángel Camino has developed an important theoretical and educational task in art schools and workshops, as well as giving lectures throughout Spain and internationally.
Antoni Campañà was a photographer who worked for over sixty years in different fields within the discipline: artistic photography, photojournalism, sports photography, advertising, etc. His work is easily recognizable by its pictorial style, a technique he learned from Joaquim Pla i Janini and Ramon Batlles i Fontanet, both of whom, along with Campañà, were members of the Agrupació Fotogràfica de Catalunya. In 1933, the artist travelled to Munich and enrolled on a photography course taught by Willy Zielke. During the Civil War years, he was a member of the leading group of photographers alongside Agustí Centelles, Josep Brangulí and Carlos Pérez de Rozas. In the forties, he stored the positive and negatives sides of the Civil War in the Arxiu Mas photographic archives in Barcelona and opened his own business on Rambla de Catalunya. In the subsequent decades he set up a sports weekly paper called Dicen; created a hallmark for tourist postcards; entered the world of advertising photography working for the car manufacturer SEAT, presided over by José Ortiz Echagüe; gave up artistic photography and established himself as a reference in sports photography. In 2018, his family found two boxes with over five thousand photographs that Campañà had taken during the Civil War and the early years of the Franco dictatorship, which were displayed in the exhibition entitled La guerra infinita. Antoni Campañà (The infinite war. Antoni Campañà) at the Museu Nacional d’Art de Catalunya (MNAC) in 2021.
Delicate naked, ethereal branches, flowers and berries with an atmospheric, wispy backdrop reminiscent of a grey and rainy spring. Isabel Cruellas’ pictorial and three-dimensional artwork is a never-ending search for beauty. Her style is neither realistic nor naturalistic, but a reflection of an almost oriental purification. It has a certain ascesis to it, stripped bare and weightless, revealing a yearning for simplicity and purity. It is symbolic and poetic, with a meticulousness that clashes with what is unreal, generating a sensation of mysterious and fascinating rarity.
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