07/09 – 08/10-2018

Cicatrices de lo invisible

Patu Inclán

After consolidating his artistic skills at the School of Plastic Arts and Design in Oviedo, Patu Inclán (Aviles, 1978) graduated in Fine Arts at the University of Salamanca. After completing his studies, where his main skill focused on painting, he specialized in Theory and Practice of Contemporary Art, an appendix with which he was able to increase a field of theoretical knowledge, which gave him a more complex and global vision of the history of art. Self-conscious of his plastic deficiencies, in the field of volumetry, Patu decided to reignite his sculpture skills, which he continues to develop today. Since 2000, this artist has treasured numerous awards and mentions of painting, and has participated in various individual and collective exhibitions within a regional and national level.

En sus primeras obras, Patu dió rienda suelta a un expresionismo, que recuerda a Bacon, donde la técnica estaba marcada por la perfección del dibujo. Figuras distorsionadas humanas, animales místicos, espacios indeterminados e inquietantes percepciones copaban unas composiciones que iban más allá de los límites del lienzo. Colores blancos, negros y rojos, predominaban en unas paletas cuyo aire nostálgico formaba atmósferas ruidosas. Sus personajes evolucionaron hacia seres reales contenidos en narrativas intrigantes tensionadas en escenarios limitados por el propio formato. Un formato que intenta proteger la fragilidad de animales vulnerables despreciados por la mayor parte de la gente. Su mente y su obra, poco a poco, se equilibran en una retención constante a través de escenografías engañosamente dulcificadas. Calidades pictóricas plásticas, y capas sobre capas, se acumulan formando sedimentos y

In his first works, Patu gave free rein to an expressionism, reminiscent of Bacon, where the technique was marked by the perfection of the drawing. Distorted human figures, mythical animals, indeterminate spaces and disturbing perceptions filled compositions that went beyond the limits of the canvas. White, black and red colors predominated in palettes where nostalgic air formed noisy atmospheres. His characters evolved into real beings contained in intriguing narratives stressed in scenarios limited by the format itself. A format that tries to protect the fragility of vulnerable animals despised by most people. His mind and his work, little by little, are balanced in a constant retention through deceptively sweetened scenery. Plastic pictorial qualities, and layers on layers accumulate, forming sediments and cracks that conclude on a technical basis where the taste for details and technical preciousness are evident.

“Cicatrices de lo invisible” condenses the evolution of the above and deepens theoretical realities that go beyond the aesthetic language itself. Disagreements, isolation, vulnerability … all these struggles, with the new and the old, so that the unknown and far remains. This artist uses his art to face his fears and shadows, with the sole intention of questioning himself and those who look at it. In that exploration his animals speak to us helplessly from the silence. Criticism becomes evident through the vision of a world where life is reified, and material goods acquire more importance than nature itself.

The main pieces of this series show the scars of a suffering through which light still enters. Through these cracks you can breathe a glimpse of life that, far from fragility, becomes strong. These works show the resilience of some animals, which apprehend the experience and continue without previous approaches, with the sole purpose of survival. White and black predominate as the colors of memory and the passage of time already photographed, which are illuminated with subtle dots of color. The canvases and crockery act as a support for acrylics, graphites and inks that result in tragic finishes where the damage is already overcome.

María Martínez Vallina