Rosanna Ansón has worked as a graphic designer, although she has recently specialized in photography, which she combines with other artistic techniques such as digital retouching, illustrations and brushstrokes of paint, either watercolour or tempera. Her translucent and naive creations draw inspiration from people in the street and her own experiences.
Miquel Aparici started his artistic career in the field of illustration, graphic design and comics. His paintings are made using natural materials, assortments of recycled objects which become zoomorphic forms that reflect the artist’s particular vision of the natural world. Unconventional textures, colours and surprising forms create a fantastical bestiary that challenges the imagination of any scientist or biologist. The sources for his work can be found in the surrealist currents such as Alexander Calder’s mobile structures or Jean Tinguely’s kinetic structures.
By using documentary photography, Samuel Aranda has portrayed political and social realities across the world, for media such as The New York Times, Le Monde and National Geographic. Focused mainly on the Middle East and Africa, he has given visibility to themes such as the Ebola pandemic, the Arab revolutions, the refugee crisis or the conflict between Israel and Palestine. In Spain, he has also dealt with themes such as the social impact of the economic crisis with images that generated a big debate, as well as the Catalan independence movement and the many political events which it led to. He is always aware of the impact these events have on people and his photographs show, in great detail, extreme situations in which the photographer bears witness to the best and worst in human beings.
Daniel Argimon is one of the most important informalist artists in our country and the one who has investigated its linguistic capacities in greatest depth. His works are characterized by his mastery of material work and collage, his taste for the texture, the tactile finishes and his constant experimentation with techniques. Within Informalism he chooses the option of the exaltation of humility and poverty. From 1961, the artist’s vital anguish becomes evident through the incorporation of elements that refer to reality such as objects that have been damaged or deteriorated by time and use.
A Catalan sculptor who shares the North American Donald Judd and Carl André’s affinity for the rhythmical repetition of simple geometrical forms. Abstract asymmetrical and organic pieces in which there is a strong desire for symbolic projection. Her work incorporates an intimate humanistic discourse charged with sensuality and mystery. A set of contrasts between the material and the lines in tension, the void and fullness, cubic forms and wavy forms, which are all an ideological reflection of contradictory human miseries: immobility and vitality, oppression and freedom.
Emili Armengol is one of the Catalan sculptors of Modernity and belongs to the third generation of the post-Spanish Civil War period. Sculptures in the shapes of fish and the silhouette of a woman are part of his creative universe, with basic and simple forms that navigate between the dialectic of the geometric world and organicism. He is the artist who made the widely-known Porta dels Països Catalans in the border area at Salses. In 2007, he was admitted as a Chevalier de l’ordre des Arts et des Lettres for his contribution to French art and culture.
Manel Armengol started off in the field of photography and photojournalism in the seventies. In 1977 he was awarded the Best Press Photography Prize for his images of the demonstrations in Barcelona in 1976, which were published around the world and showed one of the most representative moments in the political transition in Spain. From 1980 to 1987 he focused almost exclusively on photographing the architecture and atmosphere of Catalan modernism. He has held thematic exhibitions on natural elements such as fire, water, earth and wood.
Began his career with a work on horseback between impressionism and Fauvism, in which the central axis was chromatic expressiveness. Not long afterwards, thanks to the dominance of primary colours and the treatment of light, he evolved towards a constructivism that gradually disfigured characters in motion. He would not abandon this decomposition of the human figure even when his artwork moved towards the abstraction driven by the experimentation of stain and gesture. It was not until the second half of the eighties, and until his premature death, that his artwork gave up any figurative reference and entered into informalism, with the application of new materials such as sand, recycled objects or methacrylate, transgressing the limits of the canvas.
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