As Keith Moxey points out, the images – as vivid, visual objects that escape history and are not confined to the context of their specific original cultural situation – retain the power to affect the present irrespective of the moment of its creation. The gaze – necessarily conditioned by concrete visual compositions – on new images implies constant connections that transcend the intentions of its authors, continually creating new semantic dimensions and rereading them on our visual-and narrative-global interpretation.
Fabrics and plastics, and specifically the wrinkled surfaces, are the starting point and the leitmotif of the series trashpaintings, the result of the incessant research on the development and construction of the pictorial image. Immersed in the tradition of Western painting, the concept of folding and its plastic embodiment allows me to give more attention to the discipline and question the limits between representation and reality by putting the focus on the realistic reproduction of a surface – tissue, plastic, metal – which in turn envelops the ultimate reality, which acts as a metaphor for the metaphysical search – mystical or rational – of the archetype hidden behind sensory perception – not by chance from an etymological point of view the truth – Alétheia – means unhiding, in relation to the action of undressing or revealing.
Fascinated by the plastic values of the cloths of the dresses, curtains or curtains, fundamental elements both by the shape and by the color of the compositions of numerous paintings and ancient sculptures – from the folds and minimize bendings bathed by a light Spectral of the monumental colorful robes of El Greco to the meticulous pleats, folds and retracts of the garments of the saints of Zurbarán through the furrows, nooks and marble roughness of the Roman or baroque sculptures, such as the Holy Teresa in Bernini’s ecstasy –, I try to transmit, through the practice of zoom, a self-autonomy giving rise to complex volumetric surfaces of multiple evocations where the classic and the futuristic coexist – the cybernetic, the theatrical, or the enigmatic micro and Macro Worlds – At the same time.
“The artist does not represent, redraws reality.” Starting from the controlled accident approach of David Alfaro Siqueiros, through a process based on the random gesture of bending or creasing with its consequent shadows and light degradation, the focus of attention is placed on the random transformation of the moldable and tactile qualities of the plane and materials. When approaching tradition from the contemporary – and vice versa – in a visual and conceptual hermeneutic circle, cartographies arise from the irregularity of impeccable technical invoice and photographic character in a sort of hyper-realistic abstraction – nothing is more unreal than Realism – which responds to the philosophical question about knowledge and the representation of reality, approaching the divine, from the Poetics of the wrinkle.
Ismael Iglesias. 1974. Durango (Bizkaia). Lives and Works in Bilbao (Basque Country).
Iglesias participated in the Espacio Abisal project and resided in the Delfina Foundation in London. He is a multidisciplinary artist who is able to build his work with his own style. His proposals, halfway between painting and installation have been shown in several group and solo exhibitions in Bilbao, Barcelona, Madrid, London, Basel, Los Angeles, Tijuana or Beijing.
His artwork, highly effective on a visual level, derives from the systematic search within the newest technology. The intention is not so much to capture images in order to canvas them, but to comprehend and accept their articulation speed. This paradigmatic search for the essentials and for the memento in its various stages, allows the artist to blend the achievements of traditional pictorial avant-gardism with the computer screens opaque luminescence by means of systematic fragmentation.
Annalist and composer Ismael Iglesias shows his own ideas of logic and existence with a code that transcends and detaches from time and space. He advances an aesthetic language with high doses of idiosyncrasy and describes the natural spirit of simplicity. A world full of experiences and visual information to which the artist seeks to achieve by producing a wide range of images and signs. The graphic medium, new technologies, music and audiovisual media reinforces his particular concept of contemporary art. Faced with a strong artistic commitment, Iglesias has established himself as a complex creator who presents a formal maze searching for an intimate essence. He develops original readings in his perspectives and innovate conclusions through the plurality of languages, styles and media giving more independence to the elements. From the restructuring of the conventional approaches to painting, its combinations are endless. His compositions are projected as illusions suggested by the impetuous imagination armed with the power of colour and overlapping with mixed impressions. The basque painter exhibits an imaginative and changing practice which facilitates hybrid systems that allow him to play with several pieces at once, without leaving the synthesis of previous work.
Pilar Valdivieso/Cristian Walter Serigrafía expandida. Fundación Bilbao Arte.
Soledad Sevilla, “Plastic and graphics of paper”. Bilbao Arte Foundation, Bilbao.
Juan Uslé, “Painting workshop”. Marcelino Botín Foundation, Santander.
José Ramón Alcalá, “Electronic Art” and Markus Lüpertz, “Reflections on Sculpture Dimension”. Bilbao Arte Foundation, Bilbao.
GRANTS AND PRIZES
Prize IDEALISTA. Grant Propuestas VEGAP.
Basque Country Government Grant for a personal project for book publication
Basque Country Government Grant for a personal project.
Artist in Residence Arropaineko Arragua. Lekeitio.
Basque Country Government Grant for a personal project
Artist in Residence Studio TJINCHINA, Tijuana México / Grant Juan y Pablo Otaola de Basauri/ Basque Country Government Grant for a personal project / Basque Country Government Grant for México.
Artist in Residence Studio BilbaoArte Foundation
Artist in Residence Studio, Bejing,(China) / Basque Country Government Grant for CHINA
Artist in Residence CCAndratx(Mallorca) /Basque Country Government Grant for a personal project /Grant Instituto Etxepare / 2º premio Certamen Artístico “Villa de Amurrio” 2011
Adquisition 71 Exposición Nacional de Artes Plásticas de Valdepeñas.1st Accésit VI Bienal de Salou Recerca Pictorica. Basque Country Government Grant for a personal project.
Accésit V Carsa National Painting, Art andTechnology Prize. Accésit Honda Painting Prize. La Garriga.
Acquisition 2nd Young Painting Prize Ibercaja. Acquisition 70 Exposición Nacional de Artes Plásticas de Valdepeñas. Acquisition Diputación Provincial de Alicante. Basque Country Government Grant for a catalogue.
Residency Grant Delfina Foundation, Londres. Basque Country Government Grant for a personal project.
2nd Prize Painting and Scuplture COAATR. Logroño, La Rioja.
Residency Grant Spain College in Paris, MCE. Fine Arts Grant Durango Council. Acquisition Cajamadrid.
DANCING WITH YOUR EYES. Galería ADN. Barcelona *
HYPERMEDIA DREAMS. Bilkin Art Gallery, Bilbao
LET US PLAY. Galería ADN. Barcelona
LOST IN SPACE. Espacio Abisal. Bilbao. *
RE: LOST IN SPACE. Arenas movedizas. CC Antiguo instituto. Gijón
MEGAGUANDER. Bilkin Art Gallery, Bilbao. *
1+1. Somos sociedad. BIZKAIA ARETOA UPV EHU, Bilbao
VIII Certamen de Pintura y Arte Digital CARSARTE. Torre de Ariz de Basauri. Bilbao
Meminisse. new art in the basque country. myymälä2 gallery. helsinki (finland)
planet suvilahti, helsinki (finland)
SUBVERSION. Espacio La Morada, Bilbao
VIII Certamen de Pintura y Arte Digital CARSARTE
25 ANYS DE PREMIS TELAX. Galería Antoni Pinyol, Reus (Tarragona)
World Mattress Day, Fata Morgana Galerie, Torstraße, Berlin
20 años. Portalea,Eibar
X Certamen Nacional de pintura Parlamento de la Rioja. Logroño *
t-festa.ied madrid – instituto europeo di design.
BALA. Feria del Libro y publicaciones. Bilbao
Penned, Lump Gallery, Raleigh NC
Fifteen for Philip, Curator’s Office, Washington DC
MINTROP, Düsseldorf Germany
Anonymous III, (curator) Flashpoint Gallery, Washington DC
Reenactments, Current Gallery, Baltimore MD
Me, You and Those Other Folks, Flashpoint Gallery, Washington DC
Works on Paper, Long Beach Foundation of the Arts, Long Beach NJ
Andy Warhol Benefit Exhibition for DCAC, Washington DC
Brite Foundation Benefit Exhibition, Irvine Contemporary, New York NY
Art Romp 18, Warehouse Gallery, Washington DC
Unlocked: Open Exhibition 2005, Verizon Gallery, Annandale VA
The Human Form, Touchstone Gallery, Washington DC
Curator: Anne Goodyear, National Portrait Gallery
Artscape/Baltimore Museum of Art Juried Exhibition, Baltimore MD
Curator: Gary Simmons & Darsie Alexander, Baltimore Museum of Art
Traveling with Gulliver, DC Arts Center, Washington DC
SELECTED PANELS AND PRESENTATIONS
Who Do You Love, Lecture Series, DCAC, Washington DC
Chelsea Manifesto, Panelist, DCAC, Washington DC
SELECTED RESIDENCIES AND AWARDS
Individual Artist Grant, DC Commission on the Arts and Humanities
Leighton Arts Studios Residency, Banff Arts Centre
SELECTED ARTICLES AND PUBLICATIONS
In the Gardens of Japan: a Poem Sequence, by Kenny Fries, Illustrations by Ian Jehle
Outside the Lines Exhibition Catalog, Essay by Laura Roulet, Arkansas Arts Center
Folks: Taking a Good Look at Ourselves, by Michael O’Sullivan, Washington Post, Nov. 10
New American Paintings, Mid-Atlantic Edition, Book #63
Faculty Advisor, AU Art Students Guild, American University
Visiting Lecturer, Chautauqua Institute
Adjunct Professor, American University;
courses: Drawing, Painting, Art Foundations
Teaching Assistant, Columbia University
courses: Painting, Drawing, Printmaking
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