COLLECTION OF THE PRIVATE FOUNDATION ESPAI GUINOVART D'AGRAMUNT (1948-2003)

Two years ago, on the occasion of the tenth anniversary of the inauguration of the Private Foundation Espai Guinovart, we presented the first small anthology of three. It was the first exhibition of a series of three that aim to present, in the form of "small anthologies", the permanent collection of the Foundation.

This third anthology appears, in a way, as unpublished. The sculptural slope, of corporeity, the object also as a vivid language, in relation to "thing" or "things" and the environment ... I think that, in this concept, the object leaves its individual entity to To form a global whole on the resulting support: the sum of feeling, passion and matter towards the mystery of the inexplicable that is what we understand by art.

Quasi constant and from the beginning, this work has always had the need to use natural elements, real (for example, in 1948, we find a piece in which, to express the language of a field of cereals, there I incorporate the real cane and grain of wheat). Also, the reflection on the differentiated position in the use of collage. The collage always takes place from inside to inside, but, in this case, the collage is added and, in my work, it is inside out. That is, it is a buzzword that goes the other way around: looking for air, rhythm and space.

It is obvious that it is a work that is not orthodox, which is painting, but being very free and open, sometimes it is difficult to locate it.

Can a painter be a sculptor? Can you be a sculptor, a painter?

I remember that in an encounter, around 1968, in Salas de los Infantes, with José María Moreno Galbán, Eduardo Chillida and other friends, I asked Chillida who was the sculptor who liked it most. He told me that Picasso. Manolo Hugué was also interested in him.

Miró is a great sculptor; Giacometti, sculptor and painter; Modigliani, painter and sculptor; Manolo Hugué, sculptor and painter.

The plastic work that appears in the Space as a Third Little Anthology of three is the most volumetric. Therefore, with a lot of relation to the sculptural work and works such as the Capses de Menorca, from the years 1962 to 1963, and objects from the years 1971, 1980 and 1985. I think they are works that are very vertebrate in the same source. They are and continue to be land poetic, of the changes determined by the language of materials. Contents and forms. Testimony and transcendence.

Josep Guinovart
June 2006