Blog Archives

Algiers, Algeria, 1963

FONSECA MACEDO – ARTE CONTEMPORÂNEA

Olivier Nottellet begins the stories without ever truly crystallizing them into a precise narrative. Things circulate among themselves, they dialogue, they question each other while responding to each other. The painting space confronts with the drawing space and vice versa. The signs, the parcels of the images come to nest, or to lean on a colored, painted plot that seems to hold them. An absurd language emerges from the set, with an apparent sweetness that the sharpest, chiselled accents come to disturb. Incomplete images, suspended from the crossed eyes that the visitor is invited to multiply without end.

Mechelen, Belgium, 1982

GALERIA SILVESTRE

Drawing is in the origin of the whole work created by Klaas Vanhee. And it is also the ultimate expression of his life, ranging from his fully detailed daily life to his body movements. His stroke is sometimes energetic and at times it is delicate and sensual.
In his drawings, we can see recognizable and quotidian objects which are full of irony. But, as well as them, we also can see expressive faces transformed by the anguish or sadness. In either case, what is always present in his work is the movement and the energy of his gesture. A feature which is specially important in his two-hand wall drawings where his stroke acts as an echo of his thought and feelings.
That is probably why in his drawings there is something that always invites us to look at them and brings us closer, unshielded and unfiltered, enjoying the warmth that they transmit to us.

Seville, Spain, 1965

GALERÍA LUCÍA MENDOZA

Salustiano has been showing his work for several years in museums, galleries and both national and international fairs all over the world.
The work of Salustiano is based on the depth of the spirit and the superficiality of human passions. He offers us the portrait as a reflection in which to search among our emotions, he is clear to deprive his work of his personal sensible load in order to provoke a reaction in the observer.
Salustiano plays with themes that bet on breaking a first classic impression; sprinkles us with small, breeze winks; provokes us with ambiguous personages always in the edge of transgression; challenges us to show our empathy with courageous attitudes towards the world and its inhabitants.

Mangualde, Portugal, 1961

FONSECA MACEDO – ARTE CONTEMPORÂNEA

José Loureiro shows in Drawing Room Madrid oil-on-paper drawings in a register that balances from the fantasy expression of the Ácaros series, 2018, to the geometric representation of the Sinapse Morta series, 2015.
The colour, in both series, is always fundamental, strong and bright, sometimes vibrant or transparent.
Maintaining a certain geometric rigor in the drawing, with imperfect lines and angles, combined with a short selection of colours or opting for improbable shapes and all the possibilities of colours, José Loureiro never ceases to surprise us, always maintaining the same consistency.

Madrid, Spain, 1964

GALERÍA SILVESTRE

Graduated in Fine Arts from the Universidad Complutense de Madrid, Marta Berranechea identifies with the work of outsiders, translating it into an intuitive approach. She works with drawing as a revealing element in her ability to manifest the lucidity needed in art, and that is why in some way, as the artista herself says, drawing puts us in evidence, it goes to the essence of artistic ability.
Quoting Emil Cioran, a systematic thought reflects only one aspect, the controlled aspect, and being very conscious of this danger, Marta Barrenechea puts special interest in not repeating or lying, in order to safeguard coherence, so her starting and arrival points are very varied.

Málaga, Spain, 1988

GALERÍA SILVESTRE

Irene González’s universe is the final result of a strangeness that takes us to spaces that are familiar and disturbing to us. It is not a coincidence that, already in her first works, her visual references are connected with the images studied and reproduced by the nineteenth-century physiognists, such as Duchenne de Boulogne (among others). Although she also takes references from the visual arts, picking up again the drawings by Georges Seurat or Edward Hopper.
Through images alluding to memory, she creates a whole universe that can be described as a “new realism”, marked by scars, which is born from the sum of other people’s moments, quotations and memories. There is a central stylistic feature that stands out in all her series: the silence. Her images transmit a kind of stillness, a calm inner chaos, in which existence seems suspended, waiting.

Buenos Aires, Argentine

OTTO GALERÍA

Eduardo Stupia composes pieces of intense drawing activity, both in the constructive as well as in the expressive and gestural, which are revealed as heterogeneous bodies constituted by subsystems or segmented elements in profuse graphic engineering. The records coexist in a conciliation zone on the one hand, and tension on the other, without any of the two zones prevailing. This sort of accompanied internal disruption is also the result of the productive struggle between heterogeneous materials, such as graphite, pastel, pencil, oil, acrylic, charcoal, factors of a semantic confluence that is proposed as a way of being of language.

Buenos Aires, Argentine

OTTO GALERÍA

Flavia Martini reviews the relationships between abstraction, ornamental improvisations and floral and botanical iconography with a marked lyrical vocation and a sensitivity focused on constant dynamism. In their decorated, vibrant compositions, the color, the motif, and the general architecture of the painting are combined in tight precision without losing the poetic quality of the volatile and the subtle tremor of sensuality. Turned at times to an almost baroque overlapping, in others retired to a synthesis of brief gestures, strokes and brushstrokes, Martini proposes to the viewer the joyful uncertainty between artifice and nature.

Ancona, Italy, 1969

SHAZAR GALLERY

The work of Rocco Dubbini has always been characterized by an extraordinary evocative capacity in the most concise synthesis. Few elements, taken from the everyday of human life, enter into a relationship like a game of mirrors, starting to speak to the viewer of absolutely universal themes. A system of spontaneous associations that branch out from one single element to the others, a circular wave that involves every single work opening its meaning.
A synthesis of the way of understanding the work and the function of an artist who uses all visual tools (drawing, photography, installations, video) to evoke and communicate making a thought visible.
The works presented in Drawing Room Madrid all concern the figure of Pier Paolo Pasolini, the poet, director, intellectual killed in mysterious circumstances in 1975. Dubbini produced a personal exhibition for Shazar Gallery entitled “Mantra” in 2013.

Turin, Italy, 1974

SHAZAR GALLERY

Drawing with photographic procedures, Stefania Ricci concentrates more on the admirable sophistication of her prints rather than the tools needed to achieve it, all the more given that most of her research is done off-camera, placing the objects on paper which will then be exposed to the light. Insects, flowers, blades of grass, small branches, occupy the space defined by the photographic paper, forcing us to accept the amazement resulting from the lack of parameters and reference points, as the small branches reaching for the sky are as impressive as the trees themselves, while small petals move in a delicate dance. These compositions are inviting us to experience them more than to look at them.
The most poetic amongst her works are The butterfly collection in which attention to details and focus accurancy are essential: a light vibration travel though the paper, the wings of Lepidottera move imperceptibly, causing the colors to mix, create a delicate transparency, a seductive blurred effect.