VAT not included
Ed. 3/5, año 2013
Impresión digital y resina sobre dibond.
Measurements: W 110 x H 137 cm
The work of Cesar Delgado it could be compared to a scientific laboratory in which a world of tiny creatures is observed under a microscope. Meandering, twisted shapes intertwine in the fabric, delimiting paths with traces of coagulated liquid color. Like eels hatched in a tank of water, Delgado's signs vibrate with autonomous, independent life. Earthy browns mix with pure white and crawl through the space of the painting in twisted baroque convolutions. Suddenly, horizontal bands delimit and close the scene remembering that the scientific world is that of the artist where a precise, physically defined brushstroke takes us back to the world of the cold, impersonal and sharp brushstrokes of Lichtenstein.
It is the painting for the sake of painting, the abstraction for the abstraction, the work for the work. There is no pathos. Everything exists and can therefore be examined, studied like on an anatomy table. Delgado arranges the pieces of the painting for the autopsy of art history, acts as a paleontologist who breaks the stones so that fossil shells from the Jurassic period come to light. Spiral corneas, splintered bones, segments of foliaceous sheets vibrate in these slipped paintings of his own work in which a vague memory of Kandinsky merges with a problematic pop optic.
2012 «Informatismo», Tomás y Valiente Art Center, Fuenlabrada
«Informatism«, Space2. The Museum Gallery. Bogota Colombia
2010. «Informatismo», Fernando Pradilla Gallery, Madrid.
2009. Art Madrid Project Room
2007. “Derivados de Pintura”, Fernando Pradilla Gallery, Madrid.
2005. "Taxidermias", Fernando Pradilla Gallery, Madrid,.
2003. Dahl Gallery of Contemporary Art, Lucerne.
2002. Les filles du Calvaire Gallery, Paris.
1999 . Gallery Ars Vivendi, Munich.
1998. Valle Quintana Gallery, Madrid.
1997. Barrio y Valle Quintana Gallery, Madrid.
1994. MW Gallery, Madrid.
1993. Sala Pradillo, Madrid.
1988. Athenaeum of Madrid.