The work of the artists MATEU BAUZÀ, LOLA BERENGUER, PEP COLL, ÑACO FABRÉ and FERNANDO PAGOLA, meets for the first time in the same space to give meaning to an exhibition where abstraction is the undisputed protagonist. Under a title, which in part refers to a recurring theme in history, with clearly classical and academic features, the show offers the viewer a totally different and transversal vision.
Art is an infinite window, dialogue between creator and observer. Both live art, from different positions. The second from a position that seems, clearly, more privileged. The one from the inside, out of necessity; the other from the delight, attraction and emotion in the search for beauty. TRANSVERSAL LANDSCAPES invites you to a walk through a cultured forest, abstract, forceful, refined and coherent.
Certainly the transversally is found in the difference of discourses, languages, intentionality, technique and formalities, but altogether linking a dialogue of excellence and quality, a hallmark that is always found in each and every one of the proposals in our Gallery and Workshop.
The route, with a proposal on the initiative of 6A GALERIA D’ART, is not random. It begins with MATEU BAUZÀ (Palma, 1950), who for the first time collaborates with the house. A pleasure to be direct witnesses of the author’s creative process, before the lithographic technique, for the first time in his career. Bauzà opens a collective project, with original painting and graphic work, which leads the meaning of the exhibition’s title. Of the 5 proposals, his is where the clearest intention is sensed, more rooted in the environment that surrounds us, limited to the pictorial surface. The line that separates the experience of the landscape, of the painting, disappears in his work. The painter is in the most refined abstraction, the landscape painter par excellence. A consolidated benchmark. Bauzà lives painting from the inside, encouraged by the experience of a landscape constantly present in a World that finds no end, and allows us to lose ourselves on the horizon. The artist needs the landscape, he needs the sea, he needs the depth where sight is lost, and the brushstroke enters the depths of the emotions. The sea, the contours that the landscapes draw, are subjected to the most radical purification, to become intense fields of colour, away from silence, saying everything.
The work of LOLA BERENGUER (El Ejido. Almería, 1965) is not new in the 6A proposals, but it is essential, when we speak of craft excellence. The delicacy, the serenity, the neatness in the forms, the geometries, the lines, show us windows, landscapes, which invite us to experience intense beauty. Far from any intentionality, Berenguer’s work invites those who observe to stroll through abstract, solemn, balanced landscapes, where forms breathe, over fields of neutral colours, with a clarity that only those who master the craft of painting achieve, with an absolute respect, which although it would have to be intrinsic, she makes it an extraordinary fact. The Andalusian artist adds to the exhibition thanks to a series of pictorial works (on canvas and paper), accompanied by sensitive intimate drawings, as well as original graphic work stamped and edited by 6A. The tour of her work, inevitably, transports us to another landscape, the one that allows us to abstract from direct contact with reality. An ode to delicate painting, dignified by whoever marks its authorship.
FERNANDO PAGOLA (San Sebastián, 1961) opens a window to the imaginary landscape. Composed on the basis of fields of intense, fiery, curiously calm colours, the artist ennobles painting on paper, thanks to baths of colour, worked with delicacy. The collage technique is timeless, a great ally in his creative compositional process, and supports the texture of the pictorial work. Only the wooden structure gives more body, if applicable, to the work, and limits its presence in the space. He is the author of monumental works thanks to the sum, of independent works that create paths that often intimidate architecture, space, with an absolute protagonism of the work. The author is a clear example of who is aware of the sense of larger space. The coexistence between abstraction and figuration, which defines an important part of his discourse, is defenestrated when the most forceful abstraction gains ground. The sense of struggle, of presence, between work and space, is uneven, always in favour of the pictorial work, which absorbs the most absolute attention.
PEP COLL (Palma, 1959) is the creator of his own pictorial universe that is linked in a kind of autobiography. The symbols that dress the pictorial surface create harmonious abstract landscapes reinforced by the chromatic necessity. The artist with an extensive and intense career, has always been faithful to this universe, landscape, life’s journey, after all. If one thing defines Coll’s work, it is the blurred forms, evolved in the abstraction of elements that have accompanied him throughout his life, others acquired by the need for knowledge, experiences that he shares thanks to painting. The painter’s landscape tells stories, his story, inviting the viewer to stroll from the feeling evoked by the brushstroke, the stain of intense colour. Coll, a great conversationalist, does not hide life behind the brushstroke, on the contrary, he is sincere thanks to a perfect combination of the elements staged before an elaborate and infinite curtain. A lover of the theatre, his painting is a staging, in which Coll, always committed, undresses, precisely leaving full freedom so that his painting is an experience for those of us who enjoy it. Pep Coll shows once again his mastery of lithographic technique, the result of his last stays in the workshops of Workshop 6A.
The proposal ÑACO FABRÉ (Palma, 1965) closes with a recent series. The artist is not alien to nature, to the environment. Creator of an abstraction that draws from geometry, from controlled gestures, to lyrical moments, on this occasion he proposes a landscape of defined undulations, in dialogue, on the way between the most archaic technique of traditional stamping techniques, woodcut, and painting on wood. Thanks to this confrontation, we can clearly observe how the author solves the same discourse, with different techniques, between direct and indirect. Fabré is defined by perseverance, which is translated by respect at the beginning and at the end of a speech. When he lines up the argument, he subjects it to different expressive means such as his proposal for the exhibition that concerns us, where he presents us with a journey through painting, the original graphic work, to close with the modernist cloud sculpture.
TRANSVERSAL LANDSCAPES is a cult exhibition of abstraction, the result of months of intensity and uncertainty. A walk through painting, technique and art of excellence.
6A ART GALLERY, August 2020.