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OJO AGITADO january 30 - march 07, 2009
  • Ojo Agitado

    Ojo Agitado, 2008

    Acrylic and enamel on canvas, 208 x 287 cm.

  • Untitled I

    Untitled I, 2008

    Acrylic and enamel on paper, 112 x 76 cm.

  • Untitled II

    Untitled II , 2008

    Acrylic and enamel on canvas, 112 x 76 cm.

  • Untitled III

    Untitled III , 2008

    Acrylic and enamel on paper, 112 x 76 cm.

  • Untitled IV

    Untitled IV, 2007

    Acrylic and enamel on canvas, 112 x 76 cm.

  • Barricadas poéticas

    Barricadas poéticas, 2008

    Acrylic and enamel on canvas, 180 x 200 cm.

  • Hilo emocional

    Hilo emocional, 2008

    Acrylic and enamel, 180 x 200 cm.

  • Summer time

    Summer time, 2007

    Acrylic and enamel on canvas, 200 x 180 cm.

  • Anillos de humo

    Anillos de humo, 2007

    Acrylic and enamel on canvas, 110 x 100 cm.

  • Pintura I

    Pintura I, 2009

    Acrylic and enamel on canvas, 110 x 100 cm.

  • Huella

    Huella, 2009

    Wood, aluminum, plastic, acrylic and minium
    65 x 60 x 35 cm

  • Deriva

    Deriva, 2009

    Aluminum, wood, pvc sponge and minium
    47 x 80 x 25 cm

  • Pops

    Pops, 2008

    Aluminium, wood and enamel
    12 x 45 cm diameter

  • exhibition view

    exhibition view, 2017

  • exhibition view

    exhibition view, 2017

  • Exhibition view

    Exhibition view, 2017

  • Exhibition view

    Exhibition view, 2017


In The Agitated Eye Juan Olivares continues along his line of spacial investigation through painting and sculpture; applying his investigation to both disciplines, which complement one another in dynamic interaction. The abstraction comes to his work through the sensations that are left in his retina and his mind after a walk, considered in their purest essence or notion. Even so, it is a process of addition, not of elimination. His canvases are the result of a complete stratification and juxtaposition of techniques, in which each element plays and primary role in its composition and finish. From the preparation of the canvas, a phase almost fallen into disuse, with which he gets the background atmosphere for the rest, followed by the use of various thick palettes he uses to spread on the wide chromatic gestures, washing it down with water, reducing some of these gestures to a mere sketch, the rollers wrapped in rags or ropes which also leave their calligraphic marks, the washes or the stencilled areas filled in with the airgun, in the purest graffiti style – we should never forget the importance of the urban element in Juan Olivares´work.
In his wall sculptures, made of wood, aluminium sheet and PVC sponge, volume, line and colour add up to give effects and results.
One important aspect to be kept in mind is his growing interest in camouflage, which he reveals openly in his documentary video from the catalogue, in a series of urban actions with eminently aesthetic implications. As a way of masking over objects and elements from everyday life, Juan Olivares takes advantage of numerous techniques to hide or show them in a way different from the conventional. In the interesting study about different types of camouflage in art, by Maite Méndez Baiges, we read how for Rogelio López Cuenca, to intervene in the world, in reality, means to intervene in the representation of this reality. A few pages before she refers to one of the aphorisms of Max Aub, who camouflaged himself behind the alter identity of Jusep Torres Campalans, as a precocious performance , in which making art consists of making a lie out of truth so it can continue to be true. On the other hand we can see that passing unnoticed is one of the Utopias of our world, hiding our footprints and any hint of our itineraries through reality and desire. It is in this context that we find the camouflage of art itself, the invisibility of art, as Carlos Miranda says “ its visual disappearance as a work of art to become a type of perception…which allows them to function as images of the visual urban or media universe”. Olivares, in some of his episodes of occasional paintings proposes the existence of an art invisible to the eyes of the beholder, hidden behind the semiotics of its use and interpretation. Maite Méndez concludes that taking apart the production mechanisms of the social image or the image of reality is the most critical and lucid way to be in the world, since we are taught to see it in an active, creative, critical and lucid way.
Following the relevance colour has in the successive Valencian schools, we find the great chromatic exuberance of Olivares´work. Far from the discussion Goethe provoked in his Theory of Colour, in which he attacks Newton’s theory, and in coherence with his know-how, his is more an adding on than a taking away, which is what gives such luminosity to his palette, extracted from the Levantine sun. However, he doesn’t act in detriment of drawing nor volume, which he keeps so much in mind that in his most recent works some element of the composition manages to make the jump and, going beyond the bidimensional, acquires the status of round volume, thus becoming sculpture. These pieces include another technique and element, coming from his constantly searching more and more deeply into the study of space and formal and conceptual representation techniques, such as the image of the painting after scanning it onto paper and from there on to vinyl to be finally glued to the floor.
Penetrated and penetrable space – the name of his last exhibit, Basting Space, clears up a lot of things, like the Overwrought Eye, presented in this gallery, reveals the role the look has in his work-; the communication among the dimensions – a return trip from bidimensional to volume and vice versa – and his preoccupation with representing them, sometimes with structures that take us back to the fractal, complete the mosaic of referents in Juan Olivares´work.

I. H.

Translated by Barbara Sheehy


© 2011 Isabel Hurley