Green Blood_Ana H. del Amo_Emilio Gañan_09/07/19_10/31/19_Dossier
We begin this new season with the exhibition “Sangre verde” [Green Blood], featuring the artists Ana H. del Amo and Emilio Gañán. Both have fully consolidated artistic careers that have developed in parallel and are grounded, in general, in the revival of practices related to abstraction, leading us to conceive of this project as a conversation between them: a dialogue on the object.
It is important for the gallery to reflect on today’s possibilities for geometry and its derivates, and especially on any proposals able to enhance this. In 1913 Kupka wrote the following: “Man exteriorises his thoughts in words…why should he not be able to do the same in painting and sculpture, independent of the forms and colours that surround him?” From these conceptual premises, our two artists have set up a stimulating dialogue resulting in “Green Blood”. The exhibition is articulated around a selection of drawings and sculptures done in the last few months, where allusion is made to the relationships established between the individual and the object, including the situations of estrangement that come with them.
“Gravity” grounds the work of Emilio Gañán (Plasencia, Cáceres, 1971), who continues with his elaborate vocabulary of lines, points and planes as features of language, comprising a personal study of the relationships of forms in space, with his latest works tending to the sculptural. Gañán explores the concept of a geometry, where the work of art is meant to affirm itself in its mere objective existence, in its “materiality”. His pieces are characterised by a mathematical order determined by factors referring to symmetry, balance and simplicity. The construction of an “architecture”, where the orchestration of colour and its application on surfaces responds to the media, to pure materiality.
For her part, Ana H. del Amo (Cáceres, 1977) works closer to a sort of poor geometry, sustained by her selection of found materials. The method that she uses tends to be assemblage in wood and paint; the pieces usually arise through found objects, which she modifies by means of the inclusion of designed colour and shapes, resolved three-dimensionally. We are witness to the construction of works of art of a sculptural and geometric character, which she creates via various materials, appropriating them and (with additional colour and the inclusion of new features) transforming them, showing us another way for them to be observed and understood. Often the poetic character is evident in the work’s title; in other cases, it is seen in its perception and sensuality. Luminous colours, to the point of fluorescence; shapes that refuse to be enclosed and even less so classified. Shapes that seem to be stripped to the bare essentials, where we can appreciate details or errors related to creative impulse.
Geometries, in effect, of “the objectual”, where the artists transmute matter for poetical contemplation, involving the attentive gaze of the viewer as it clearly completes the work, participating as it does in a worthwhile dialogue.