16/11 – 16/12/2018
Faustino Ruiz de la Peña
Faustino Ruíz de la Peña (Oviedo, 1969) graduated in Fine Arts at the University of Salamanca, in 1992, but his decision to carve out a future work in education extended an inevitable feeling: his creative needs. Specialized in painting, his years of learning were marked by the motivation of the results and possibilities offered by the different techniques taught. During all this time his plastic priorities traveled in an experimental field where the drawing was always present. Consistent with his reality, Faustino extended his artistic demands and finally exhibited his first individual in 1999.
In this period, influenced by Twombly’s painting, the artist continued the studies of the subject in a practice dominated by geometries and abstractions of marked neutral backgrounds and expressive strokes. Gradually, lonely characters began to emerge, in a clear statement of the taste for anatomy, represented with sinuous postures and pronounced foreshortenings. These years allowed the artist to embark on a game between drawing and matter where figuration was imposed by its own weight. Obtaining several regional awards gave the necessary impetus for the artist to demonstrate an unquestionable plastic identity. His works contain a memory, that he himself transforms, making everything he sees and lives his own. A photographic painting that captures moments, details and moments that freeze and remain inert in a reality that continues the viewer. In the process, the narrative transcends the visible to the hidden in the form of desert or snowy landscapes, uninhabited houses and creatures that make their way into the snapshots. Static scenes, contained atmospheres and color ranges of dark tones, are worked with repeated glazes and spots that erase and replace. His attraction to the distance separates him consciously from the opaque contours, the details of scenes and the contrasts of lights and shadows. Faustino Ruíz de la Peña creates worlds that go from the darkness of the Spanish baroque to the American thriller cinema.
For “Blue Thunder” the artist presents his already characteristic landscapes dominated by open skies and leaden, melancholic spaces and disturbing houses where animals enter and leave the frames at will. Despite the stillness, there is a disturbing movement that accompanies a kind of whisper issued by the surrounding nature itself. The sequences, enveloping, coexist loaded with a realism influenced by the suggestive paintings of Borremans and the innovative language of Wells. In the “Gang” piece, he introduces us to the painting through the great use of the depth of field where he manages to trap us in each plane and makes us partakers of what may happen. However, in his joy for technical perfection, this time his protagonists leave the painting and let themselves be carried away in the evident evolution of a painting that continues. Dogs that wander on indefinite and fluid backgrounds and horses that evoke the equestrian portrait in the exaltation of the painting itself and the color. Once again, his fascination with morphology in elegant compositions and calm environments is revealed. Variegated and tight brushstrokes, which highlight an exquisite refinement of textures, are confronted with the purest substance of plastic experimentation.
María Martínez Vallina