4 Raons / 4 Reasons. Col·lectiva


Four artists shape the project, guided by the solid abstraction that accompanies their paths and the large format. These four artists have an absolute mastery of technique, until having the ability to develop a complete project into four unique images: 4 raons / 4 reasons. 6A GALERIA D’ART proposes a project in four limited editions of large format to cover an exhibition space of more than 250 m2, thanks to the conclusiveness of the final result. The proposal is unquestionably artistically ambitious, but is too unquestionably technically. 6A GALERIA D’ART invites 4 artists: RAMON CANET, JOAN CORTES, RAFA FORTEZA and FERNANDO PAGOLA, to create 4 large-format images, thanks to the technique of wood engraving during a stage at TALLER 6A. The complexity to develop the project, technically speaking, has been overcome thanks to the technical team of TALLER 6A and especially thanks to the determination of the 4 artists to carry out the project. 4 RAONS / 4 REASONS becomes a reflection of coherence that governs 6A GALERIA D’ART, along with TALLER 6A.

The work of RAMON CANET (Palma, 1950) shows once again the spirit that is in the artist, who is experienced in the field of stamping and he does not stop investigating new ways. Three xylographic matrices, stamped as if it were of a chalcographic engraving, were combined to create a balanced composition of large format. The artist, a great defender of the traditional stamping techniques in all its variants, claims them as necessary in the creative process, opening the world of stamping to infinity. CANET establishes a strong bond with its work, so much that it is involved in the whole process, and that contributes to each stamp the importance of the unique piece. The artist gives the exhibition one of the reasons, where elegance and strength are found on paper, almost naturally, despite the laborious process behind.

JOAN CORTES (Pollença, 1963) demonstrates once again a balanced combination between art and work with wood. He shows how a carved wood with imposing format worked with a technique that often can seem rough by its execution, becomes something delicate and precise in the hands of the creator. The red demonstrates a perfect execution, which strengthen the discourse established by CORTES, becoming a necessary reason for the project. CORTES, the sculptor, surprises us again with the pictorial work, with an extreme sensitivity. The technical mastery shows how a matrix takes life and becomes a stamp, questioning where the meaning of the xylographic matrix ends and where the artwork starts. CORTES gives us a REASON of great weight within this project, extensive to the current artistic panorama.

RAFA FORTEZA (Palma, 1955) shows once again that his creative process doesn’t understand limitations or conformities. The artist doesn’t contain himself, for the sake of those who love art, and makes his work emerge from an explosion (in the best of the senses) provoked by a disproportionate creative passion. Certainly, the finished work is enthusiasm in its purest form. An enthusiasm that has never waned along its path. FORTEZA proves, once again, that experience is an important degree. Recognized national recorder, he blindly believes in the purest technical concept, as well as in the original graphic work as a social necessity. In his creative process, as well as in life itself, he is not limited or shaped at any time, to the point where he needs the combination of different techniques, so that the work generates a visual explosion, which turns the graphic work into a joy Vibrant and exquisite, capable of enthusing whoever looks at it.

FERNANDO PAGOLA (San Sebastián, 1961) creates the turning point between the 4 RAONS that give meaning to the exhibition. The artist coexists between abstract and figurative discourse throughout his career. Once again it gives prominence to the plot of the newspaper, which once transposed to the large format, becomes confused, abstract, necessitating a more careful reading. The artist has worked the technique of the monotype technique to establish the basis of the figurative, almost obsolete from the moment that it is subject to the limits of large format. Far from the image meets the visual force. The PAGOLA work is the reason why invites us to conceptual and technical reflection among 4 reasons within excellence 4 reasons/4 reasons dignifies, even more, the original graphic work.