PAST
View Isabel Hurley´s page in facebook View Isabel Hurley´s tweets View Isabel Hurley LinkedIn page

CRISáLIDAS june 25 - august 01, 2009
  • S/T 02

    S/T 02, 2009

    Watercolor on paper, 25 x 35 cm.

  • S/T

    S/T , 2009

    Watercolor on paper, 25 x 35 cm.

  • S/T 09

    S/T 09, 2009

    Watercolor on paper, 25 x 35 cm.

  • S/T 10

    S/T 10, 2009

    Watercolor on paper, 25 x 35 cm.

  • S/T 11

    S/T 11, 2009

    Watercolor on paper, 25 x 35 cm.

  • S/T 12

    S/T 12, 2009

    Watercolor on paper, 25 x 35 cm.

  • S/T 14

    S/T 14, 2009

    Watercolor on paper, 25 x 35 cm. 

  • S/T 16

    S/T 16, 2009

    Watercolor on paper, 25 x 35 cm.

  • S/T 18

    S/T 18, 2009

    Watercolor on paper, 25 x 35 cm.

  • S/T 19

    S/T 19, 2009

    Watercolor on paper, 25 x 35 cm.

  • S/T 20

    S/T 20, 2009

    Watercolor on paper, 25 x 35 cm.

  • S/T 21

    S/T 21, 2009

    Watercolor on paper, 25 x 35 cm.

  • S/T 23

    S/T 23, 2009

    Watercolor on paper, 25 x 35 cm.

  • S/T 24

    S/T 24, 2009

    Watercolor on paper, 25 x 35 cm.

  • S/T 25

    S/T 25, 2009

    Watercolor on paper, 25 x 35 cm.

  • S/T 27

    S/T 27, 2009

    Watercolor on paper, 25 x 35 cm.

  • S/T 01

    S/T 01, 2009

    Marker on paper, 38 x 48 cm.

  • S/T 02

    S/T 02, 2009

    Marker on paper, 38 x 48 cm.

  • S/T 04

    S/T 04, 2009

    Marker on paper, 38 x 48 cm.

  • S/T 05

    S/T 05, 2009

    Marker on paper, 38 x 48 cm.

  • S/T 07

    S/T 07, 2009

    Marker on paper, 38 x 48 cm.

  • S/T 10

    S/T 10, 2009

    Marker on paper, 38 x 48 cm.

  • Crisálidas

    Crisálidas, 2009

    Mural intervention in the gallery.

  • Crisálidas

    Crisálidas, 2009

    Mural intervention in the gallery.

  • Crisálidas

    Crisálidas, 2009

    Mural intervention in the gallery.

  • Crisálidas

    Crisálidas, 2009

    Mural intervention in the gallery.

  • Crisálidas

    Crisálidas, 2009

    Mural intervention in the gallery.

  • Crisálidas

    Crisálidas, 2009

    Mural intervention in the gallery.

  • Crisálidas

    Crisálidas, 2009

    Mural intervention in the gallery.

  • Crisálidas

    Crisálidas, 2009

    Mural intervention in the gallery.

  • Crisálidas

    Crisálidas, 2009

    Mural intervention in the gallery.

  • Crisálidas

    Crisálidas, 2009

    Mural intervention in the gallery.

PRESS RELEASE

Fernando Gutierrez recently awarded the LABjoven Experimenta (Laboral de Gijon) prize, displays his first individual exhibition in Malaga. Chrysalis, deriving from the Greek term chrysos, “gold”, makes reference to the intermediate phase en the metamorphosis of many insects, from the primitive larva to the definite imago, the adult phase. This brings to one’s mind the very stage between the juvenile period and the incipient adolescence of human beings, a time full of discoveries, curiosity, astonishment, vitality without borders, a melting pot of innocence and craftiness. The word “gold” in its composition could be explained by the incredible beauty of many of them.


The mural intervention transforms the place: the emerging creatures - purified, in the artist’s imagination, are chrysalis of beings of different etiology, play with him and surround us, while introducing us in their magic, lyrical, evoking world, one parallel to our daily life. The place accepts this transformation, takes part in the exhibition, just as it could be said about Altamira, with its impressive paintings that inspired Picasso in his painted ceramics.


The artist’s proposal guides our sight and reason towards an original, natural world, clean and untouched by the civilized world. This is Arcadia Feliz, identified by many as the first youth of our world and of the human being, a mythical earth of idyllic coexistence between nature and humans, in harmony with the mythological environment, prototype of happiness embodied in the bucolic life. By means of evoking childhood and its fantasy in a primitive manner, Chrysalis subtly suggests an alternative to the western societies, offering a different range of possibilities and perspectives; yet, these perspectives are only outlined, not to be finished yet, just as the chrysalis. Fernando Gutiérrez resorts to a type of smooth but secure drawing, caressing, intuitive, naked, simple and masterful. He uses the very essential in order not to disguise the authentic: communicate an idea, a feeling. The use of the technology is not an obstacle for the drawing to get to be free in its movement and sensitive, easily perceived and understood.
The iconogrpahic repertoire, although el “estilismo” tiene alguna deuda con el papel cuché, finds an everlasting source in the Northern mythology, of Celtic inspiration, region of the artist’s birth. Asturias, and in general, the Cantabric cornice and its luxuriant forests are the setting for a parallel universe full of fantastic and sometime hybrid creatures, evil or benevolent, beautiful or repulsive, always attractive. Xanas of Nordic beauty, which live close to fountains and cascades, guarded by the cuelebres, winged snakes that dance in circle during the San Juan night, as they hear the songs of the ventolinos – tiny dwarves that float in the air and the moon beams and carry with them in the air the lovers’ sighs, espumeros dressed in algae, which live in the sea; trasgos, mischievous dwarves with tail and antlers; musgosus, half man half sheep; dianus in constant metamorphosis, etc…. and an infinite world of magical elements from the animal, plant and mineral world. We can also see pesadiellus in Fernando Gutierres’s work, as an essential, although not frequent element.






The videos that have as a set background the photoluminiscent drawings, far from being sophisticated, but rather following a line of povera or low tech animation, emphasize the impression of sensitivity and improvisation. Javier Panera points that “the use of the low tech by the artists introduces a politically necessary aspect. Whatever the proposal, this will be imbued by the tensions between the paradigm created by the technological advance and the alternative perspectives to shape the reality. Fisrt of all, the use of the low tech involves a critical distance”. Fernando Gutierrez’s work supposes a redefinition of the drawing: in its traditional medium, translated from paper to wall; in its expressive techniques, mixing drawings with black acrylic painting and photoluminiscent pigment, which creates different perspectives and emphasize the feeling of unreality, justaposing lights and projections of “poor animation”, which give the impression of movement. In other words, this is a drawing new dimensions of proportions and techniques.


These new dimensions of a form of life are Fernando Gutierrez’s proposal at a theoretical level: re shaping of values and priorities, nothing impossible, but, yes, difficult; close at hand, yet, under some circumstances, unattainable. Recreation of the Et in Arcadia ego, a classic of the literature – Garcilaso, Cervantes, Lope de Vega – and of art, with Poussin as its most significant representative of the iconography. We have all been there, in this arcadia feliz, in remote times, in our childhood. This is not to say that past times were better, but that we must not forget nor despise them, but learn from them and learn how to live the future.


Ingenousness, tenderness, ludic sense, lewdness, freshness, that all concur on this type of midnight summer dream, close to the summer solstice of San Juan, with its ancient magic saved to our days.


I.H.







 

© 2011 Isabel Hurley