Fundació Vila Casas
MUVACC


CAT | ESP | ENG | FRA

Virtual Exhibition

Gabriel


PLEC_TOPOS
Start 30/08/2018
Exhibited from January 21th, to March 20th, 2010 in Fundació Vila Casas

Art has always been an intersection of enigmas.

Rafael Argullol.

 

Gabriel. – The establishing of the corpus of my work goes hand-in-hand with its execution, with the exploration of the idea of art in its purest sense and, consequently, as it develops over cultural time, the witnessing of into which arena of perception and consideration it breaks. Given that I believe the present status-quo which decides that the guaranteeing institutional fabric works by empowering a specific paradigm which, generally speaking, disassociates form from concept, and limits the horizons of art by the construction of visual speculations subject to arbitrary justification, normally of...


read more

EXHIBITION PAINTINGS: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
Imminència de la immanència
2009
Sculpture
Stainless steel and cast aluminum painted

Gabriel presents his work to us as refounding form. His sculptures, abstract in nature, speak of a search for new artistic forms. Just as abstract painting offers us information about painting as such in a self-referential way, Gabriel’s sculpture does the same. His sculpture talks about sculptural form and procedures, and at the same time about a return to origins, to the human being, to mysticism, to the uncertainty of destiny and metaphysical concerns. Materials take on importance in his work, obsessed as it is with the formality of representation. And they are varied: glass, iron, water and neon, as well as more organic materials like snake skin or wood.
Metatron
2007
Sculpture
Wood covered with nails

The pieces in this exhibition establish a dialogue between the elements created by nature (all the elements created accidentally) and the artificiality of some of their materials, the “happy accidents” that appear when the artificial is modelled. This juxtaposes two worlds and creates uncertainty, both in the creator and in the viewer. The artist’s subconscious becomes language and uses form to create rhetorical questions, doubts and tricks which the viewer has to solve when faced with his works. Some of his creations even seem to break the laws of physics, which awakens perception and at the same time sows doubt in the sense of reflecting on the limits of reality.
Kar-Sar
2005
Sculpture
Aluminum

As a self-taught artist, Gabriel stands as a precursor of technique and language rather than as the follower of a specific movement—even though critics like Rafael Argullol place him in the non-figurative side of sculpture linked to abstractionism, associated with the second half of the 20th century. He himself states: “The system gives you the answer it wants and this is incompatible with creating.” We therefore see an artist interested in placing himself “in the open, outside the system.” This allows him to create freely, free from canons that are not his own; opening the door to breaking the norm.
Forma inconscient
1992
Sculpture
Stainless steel, needles and glass

Metaphors as doors that open up existential abysses are also present. The constant search for the right materiality, for a precise form, for the reference to nature and chaos within order or order within chaos... His works seem to suspend time, to stop it completely, if only for a few moments, in which the viewer—us—feels the privilege of observing time stopped and approaching this universal desire. At this moment of total pause, the absence of anything, we can reflect on the most transcendental aspects of our existence.
To Theion
2009
Sculpture
Stainless steel and cast aluminum painted

Space also takes on great importance in the sculptor’s work. Empty space as solitude, as absence, becomes a constant presence, and also a form, in his own words, “even though, paradoxically, the empty space needs to be constructed first.” The plenitude of form and its absence are combined, for example in To Theion. Specifically, the empty space in this work is framed and marked out. It is as if matter were forced through emptiness, doing contortions to fit, as if the emptiness were dense. Because empty space can be dense, surprisingly dense: of a density that deforms the hardest, most compact matter.
Agn
2008
Sculpture
Wood covered with nails

This sculpture by Gabriel seems to insinuate rather than dictate. The subtlety rather than the obvious disarms us and forces our perception and thought to make an effort. The truth seems much more right when it is hidden because, camouflaged among its forms, it passes through us without us realising. It plays, even if we believe we are falling short cognitively. It generates doubts without us realising it. Because the artist wants to escape from the idea of metaphor. As he himself explains, when we shake off the language that would determine how we think, preconceived ideas and pure form also disappear; matter freed from preconception becomes free art.
Isin Chetne Tviste
2008
Sculpture
Wood covered with nails

The search for pure form is often the thread running through the artist’s work. This pure form, the space it occupies, the emptiness it fills, becomes an object. An object before us that we cannot reach and which therefore appears to us as an object of desire. Gabriel, who defends the act of creation in itself and says: “I still think that the power of art lies in materialising something that lies in the intellect,” shows us how proaction springs from his psyche and appears imposingly before us as a challenge to our own minds.
Tetragrammanton
2009
Sculpture
Wood covered with nails

Tetragrammaton displays a metal skin. The nails look like little cells, hard in their composition. An armoured skin that the waves make almost liquid, like expanded pores, like ripples in water, like sound waves. Hardness and elasticity are interlaced. It is also a pure form that remains despite the passing of time, circumstances, social constructs or any presumption. Form is eternal and universal, like Gabriel’s sculptures. And here lies his task: in a constant searching, a refinement and a universality that transcend the artist himself.
Cefalomancia
2007
Sculpture
Marble

Extaticitat de l'estaticitat
2009
Sculpture
Methacrylate

Paean
2009
Sculpture
Wood covered with nails

Pleroma
2005
Sculpture
Aluminum cast

Polutropon
2007
Sculpture
Lacquered wood

Pro archon
2005
Sculpture


El somriure de bronze
1990
Sculpture


Teratologia del nucli
2007
Sculpture






FUNDACIÓ VILA CASAS PHYSICAL MUSEUMS:
BARCELONA

ESPAIS VOLART
Exhibicions temporals Art Contemporani

Espai Volart
BARCELONA

MUSEU CAN FRAMIS
Museu de Pintura contemporània

Can Framis
PALAFRUGELL

MUSEU CAN MARIO
Museu d’Escultura Contemporània

Can Mario
TORROELLA DE MONTGRÍ

MUSEU PALAU SOLTERRA
Museu de Fotografia Contemporània

Palau Solterra



© 2015 Fundació Vila Casas   *   Legal disclaimer & Privacy policy   *   Cookies policy   *   Site map   *   Anunzia