«LANDSCAPES OF THE FUTURE Nº16» ROSA MUÑOZ, 2011

VAT not included

2017

Alex voinea He was born in Romania in 1973. Leaving Romania after the revolution, he moved to Italy and now resides in Sitges (Barcelona) where he lives and exhibits. He has exhibited his work in various cities, including Brussels, Paris, London, Milan, Amsterdam, New York, and Los Angeles.

Measurements: W 114 x H 134 cm

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Lady of Shalott, series »Old Father Thames»

Year 2018

Julia Fullerton-Batten

The world of Julia Fullerton-Batten (Bremen, Germany, 1970) in the series "Teenage Stories" is that of Alice in Wonderland. Alice's character takes on different faces of her characters as if we were at a masked ball. Sometimes Alicia walks sleepwalking, other times she contemplates her reflection like Narcissus and other times she seems beaten or in full reverie. This psychological approach to girls in transition to adolescence is still strangely disturbing, full of questions and authenticity. The game of its characters is nothing but an artifice that disguises a decisive moment in their lives: the age of interrupted innocence. This idea of transition is developed in the project "In Between" with an extraordinary visualization of a suspended time.

Julia generously and sincerely offers us an autobiographical work displaying an unlimited technical mastery and a staging calculated to the millimeter that does not take away a bit of freshness and spontaneity. In his latest works he looks for a context and alternative protagonists that he interrogates with equal skill, as in the series "Unadorned", "Feral Children" and "Old Father Thames".

W 101 x D 0.5 x H 76

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"No title"

Resin on wood

Fernando de Ana

If there is an art gene, Fernando de Ana (Talavera de la Reina, 1979) and a graduate in Fine Arts, carries it with him. Since he was born he has been surrounded by oil and pencils, spatulas and turpentine. He belongs to the third generation of a saga of artists that began at the beginning of the 19th century with his great-uncle, José Pérez, painter and first director of the Cádiz Museum of Art, and continued with his father, Juan Carlos Jiménez, also a painter and Doctor. in Fine Arts.

If his ancestors delighted in light and still lifes, Fernando de Ana has also wanted to explore other more contemporary languages, working first as an illustrator - he has received several international awards - and as a cartoonist, to later soak up design and the avant-garde Dutch, a pioneer country in this field, where he combined his artistic work with that of art director for more than a decade. His work has been exhibited in Prague, Bologna, Amsterdam or London, among other cities and has been selected and awarded in different art competitions.

From that transversality of influences and from that symbiosis of classic and avant-garde references, now comes his maturity as an artist. Away from his comfort zone, the artist opts for his own language in which emotions prevail over the metallic. His way of being in the world beats in his work: human relationships marked by sex, loneliness and melancholy, anxiety as a catalyst for art, obsessions spinning in a spiral, repetition of patterns, morbid agitated with tenderness infinite, the frustrated Innocence that still breathes, moving it as a motor. Fernando de Ana's work responds to a mature creative process, built over several decades exploring different formats, where material, meaning and feeling go in the same direction. 'Forbbiden carnal', his elegant series in resin and neon, has already become an exponent by combining without complexes an apparently cold material with geometric limits with the warmth and sensuality of light, in such a way that it has achieved that both elements exchange natures.

The author undresses through this meticulous technique and tells us about his inner world, his contradictions and his fears, all crossed by Eros and Thanatos, pleasure and pain, contradiction as the very genesis of life. Each work of 'Forbbiden Carnal' shows an aspect of sentimental relationships, an instant in the relationship with the other, always complex and necessary: the arrow of first eye contact, one's own vulnerability, seduction as a totem and motor, lies and the decadent, the caress as an antidote to loneliness. Nothing better than resin, color and the symbiosis of geometry with neon to express this entire sensitive universe, which not only seeks to connect with the beauty and the terrible of the viewer, but to seduce him as well.

W 150 x D 7 x H 150