CLASSIC AND CONTEMPORARY ART is presented as an exhibition characterized by the eclecticism of the different artistic techniques used today. During the twentieth century, with the beginning of modernity and avant-garde art, the artists dissociated themselves from the Academy, which meant total freedom for their creative experimentation, which, in turn, resulted in a proliferation of different artistic movements. With this innovation the support evolved into unsuspected places, abandoning the usual canvas or board. During the 21st century this freedom continues to be exercised at a surprising pace and emphasizes the use of techniques and materials used. Nowadays all material or tool can be suitable for the work, as is the way it is used, molded or works. Nevertheless, this infinite opening of technical possibilities continues to be combined with traditional pictorial and sculptural methods that are still used by a great number of creators who do not abandon the traditional oil and support.
The artists we present, therefore, are very different from each other, however, they share something: they are all representatives of the present in terms of the techniques they use for the creation of their works and, in some cases, their elaborate elaboration procedures Challenge the limits of painting and sculpture proper.
It is necessary, therefore, to be aware of the fact that contemporary art sometimes continues the artistic traditions adapted to the sensitivity of its authors. Despite their current nature in dealing with their content, there are artists such as Juan Genovés or Manolo Valdés who continue to work the two-dimensional work, using acrylics, oils and having the canvas, burlap or table as a support. The human figure, represented by the multitudes in the case of Genovés, or in the key figures of the history of art in the case of Valdés, is the axis of the work of these two already classics of contemporary art. Tadanori Yamaguchi, for his part, is a sculptor who continues the tradition of carving either in marble or wood, giving his pieces a similar finish despite the difference between the two materials used. Julio Vaquero (Barcelona, 1958) uses the watercolor on vegetal paper for the pictorial representation of the still life that he installs and Joaquin Barón (Ciudad Real, 1970) uses the oil for his compositions of Street art that remember Basquiat or Dubuffet and That translates to the three-dimensionality in its sculptures of wood and polychrome metal.
The use of metal to create sculpture goes back to the primitive art, however, it is not until the 20th century onwards, with the diversification of artistic techniques, that the exploration of the different metals for creative purposes does not reach its fullness. At that moment a questioning of the sculptural tradition arose: the representation of the human figure was abandoned progressively giving way to a predominant abstraction. On the other hand, the new mechanized means that arise from the innovation in the XXI century have allowed many artists a more precise search in the quality of the materials. The more innovation, the more possibilities. The encounter between the visual sensation and the technical experimentation of the metal is what characterizes the work of David Rodríguez Caballero and Blanca Muñoz, two sculptors who mold the metal to their liking showing all their possibilities. While Rodríguez Caballero folds, bends and twists metal plates that later become the support of his brush, Muñoz uses fine stainless steel rods to draw geometric shapes undulating in space.
Another characteristic of the latest artistic tendencies is the questioning of the boundaries between painting and sculpture, which are blurred in new forms of expression fleeing hermetic denominations, as is the case of Xavier Escribà, whose works have as protagonists the very materials of the creative process , Thus, the acrylic painting on canvas becomes sculpture when both are molded forming original voluminous structures.
The quasi-surgical representation of reality, as it once characterized the Flemish authors through the discovery of the oil, assuming a technical advance that changed the direction of the painting, adapts to the new techniques through the photographs of Manuel Franquelo. The artist has developed a method to photograph and print on aluminum that gives an unmatched quality to his photographs, so realistic that makes the viewer wonder about the material used.