'Ámbito de Acumulación' | Original title
Under this title I have united a series of paintings on which I am working at the same time and which, although technically different, formally and visually, they all refer to the same theme: accumulation. This can be understood in different ways, either as auto-accumulation as organization or auto-organization, as a chaotic or controlled accumulation, irrational, sustained, or capricious.
All this growing out of an open spatial-atmosphere, based on color as light, and as the ground where the language of the painting develops. In this way, this space becomes articulated by different elements such as light, form, drawing, colour etc., and where visual perception of the apparent, the optical and the virtual is developed.
I have subtitled these paintings as :
1- Espacio Autorregulado
2- Espacio Modificado
1- Espacio autorregulado
In this work, which is an epilogue or natural continuation of the series “Campo policrónico”, I developed the concept of sustained organization, and in this way, the work process regulates the act of painting. A regulation that is created in time and space during the process of painting, but which comes from no previous sketch, so that the result is unpredictable. So that, in these pictures time is sustained, runs slowly; although it might be perceived that the brushwork is expressive, resulting from the speed of execution, this is not so; here is revealed the apparent, and the ambivalence of what seems to be and yet is not.
The brushstrokes get longer and occur in slow motion, where they are transformed, constantly developing and changing both formally and chromatically creating an ambivalent virtual space, where different visual elements intertwine.
It’s in the spatial construction in the work process, without corrections or preparatory studies, where from an open chaotic approach, the pictorial space organizes itself through an adjustment of time during the work process.
2- Espacio modificado
In these pieces I work in an open space which organizes itself and where chance plays a fundamental part in the creation of the work.
My approach to the work is: to destroy one reality so that, out of this act, another totally new one can be created through a modification of matter and space.
With this approach, I’m working in my paintings with the idea of destroying so as to construct through modification, which can also be understood as rectification; and so, the moment I consider myself to be painting is when I’m working on the canvas cutting up the picture, destroying what exists and creating a new reality, created by the use of the knife. This is important in the work process because it allows me to keep a distance from the picture, to paint as if I were some distance away from the work. It prevents me from controlling the process, and allows chance to play its part, and creates a raw, ambivalent atmospheric space which keeps it from becoming too precious. The material aspect of paint appears, but as negation, resulting in a texture of emptiness; as if it were anti-matter.
There also appears in this work the theme of chaos, within an order which allows the chaos to work. The idea of the sign or marking which time ends up placing on things, expresses an idea which interests me visually and conceptually for the way it manifests itself spontaneously and by chance.
In these paintings space unfolds through the indiscriminate accumulation of pictorial objects, creating different layers, which superimpose themselves on each other until they create a dense, overloaded space. There are no preparatory sketches for the composition, and it’s the picture itself which gradually creates its own pictorial space. Colour and shapes interweave to create their own tapestry of multiple spaces, in an atmospheric field of layers of light and colour.
In this series space is organized on different planes and at different scales. Here space opens up and the accumulation disperses acquiring different proportions. It’s an open accumulation where the empty fields contribute to the spatial weave. Colour and shapes intertwine to create their own tapestry of full and empty spaces in an open atmospheric world, where light and colour expand and intertwine and superimpose on each other on different levels.
There exists a spatial independence, revealing a floating atmosphere, in which things seem able to flow freely in their own environment without their surroundings or the weight of gravity influencing them in the least.
Pablo Rey, Sant Feliu de Guíxols, Winter 2002.