There is no trace or action in the figure of Eduard Arranz-Bravo (Barcelona,1941) that does not appear to us as a fervent counterpoint. We think of the extraordinary chromatic celebration that the Tipel factory meant in contrast to the grey of Francoism. Or his effusive figuration reacting against the informalist abstraction that reigned during the sixties in Barcelona. A vital counterpoint, too, when, in full popularity, on the eve of the dictator’s death, our artist moves to a farmhouse in Vespella de Gaià (Tarragona). Or the counterpoint of the eighties: when alien to the pictorial boom that characterized those years, he took refuge in the
seafaring and taciturn population of Cadaqués. And finally, artistic and vital counterpoint from the nineties onwards: the conceptual movement marked the artistic tone of a decade, to which Arranz-Bravo reacted by accentuating his interest and dedication in painting, today a privileged refuge to reflect on deep questions of existence.
Arranz-Bravo understands his current work as a kind of musical counterpoint: this brief, vibrant and intense sound that contrasts with the rest of the music in the background of the score, but not to deny it, but to affirm it with more.
emphatic. A chromatic whiplash felt that makes us vibrate as human beings. It’s like a wild rock in the midst of the uniformity of a Japanese garden; an unexpected low note in an ascending Bach fugue; or like a brushstroke.
spontaneous and precise on a straw background in one of Joan Miró’s latest paintings. Subtle moments of creative intensity, which Arranz-Bravo has worked for the exhibition metaphorically, in a joint project that integrates painting, sculpture, drawing and work on paper.
The exhibition has the collaboration of EASD Serra i Abella L’ Hospitalet, which in the course of the exhibition will present a photography and design project based on the idea of Counterpoint.