Painting - painting

The generation of artistes that will begin the seva race in the decade of the 60s, to which Gerard Sala and Gerard Sala, is the one that is debated between painting and non-painting. The non-painting entesa com the form d'expressió artistic that cedeix tot the protagonism to l'objecte, the concepte, the idea transformed into a pictogram, graphic or proclamation, is located in l'inici de moviments com Fluxus or de l'art conceptual to Catalunya. The painting, defended per pocs, will follow the seu camí in terrenys no poc hostils.

They will be an anys de canvis, manifestations against stable power, which will lead to the maig of 68 to Europe and protest against the war of Vietnam als Estats Units.

The vindications in favor of justice and proclaim them of pau van anar seguides d'accions that, at tots els nivells, claim canvis profunds. In terreny artístic, hi havia qui deia that the painting was mort, that the future was not in mans de qui followed treballant with the pinzell and the cloth, but who began to explore with the projector or with a rudimentary video camera.

Tanmateix, hi va haver artistes that, fidels als seus orígens, will continue to paint. I això has not volgut dir not poguessin not be contestataris or reivindicatius, but that s'ha demonstrated that the rain and the defense of pròpies conviccions to be a company of different views punts. Or dit d'una altra way, in those moments calia be valent per defensive posture attacked per molts to follow a camí that povs defenseven.

Gerard Sala pertany to that group of artistes defensors of the painting, not so sols per tot the cultural pòsit that it entails, but they believe that the seves possibilitats expressives have not been nor of bon tros esgotades.

Artistes com Rothko or Motherwell, integrants of l'anomenat expressionisme abstracte nord-americà, havien demostrat, quan Gerard Sala is going to start painting, that the painting in the seu sentit més strict to have a punyent força de suggestió, to touch the sentiments, independentment of figuració i de l'anecdota.

We can not say that Gerard Sala followed a follower d'aquesta tendència (potser neither d'aquesta nor cap), since the seva work is not feta d'abstraccions. Allò what if it has interessat, però, es extreure of the painting the maximum força expressiva, i això ho advisgueix no pas apartant-se of the realitat, sinó partint d'ella.

Rosa Maria Malet

 
The limits of painting

Painting has no reason to define itself as sols of the seva characteristic purely technical and more conventional. Painting is tot allò that is pensat i realitzat des the look of the painter, face that, in some occasions, tambu puguin is utilitzar d'altres suports, materials and objectes that do not follow the most characteristic and habituals.

Hi ha moments, or èpoques, in what tea the necessities d'emprar or d'incorporate to the painting d'altres elements that contribute possibilitats diferents per a l'evolució del llenguatge pictòric personal. Moltes vegades aquestes are works of tempteig, of recerca, that, segons i com, can scatter us, and that, finally and tot, they can arrive to be a mica fora of the general context of the work.

It is precisely, that I have mentioned that this exhibition at l'Espai Guinovart reculli some d'aquests darrers treballs that reflecteixin this research. I grew up that lloc indicat per mostrar-ho. I have been working with Josep Guinovart, a man of petit and sincer homenatge, who is one of the painters who have developed the most important aspects of painting, and one who has influenced me essencially and ethically, helping me to discover this kind of art. need for a qualitvol painter who does not vulgarise in vain receptacles of false prefabricated, limited, repetition and commercial styles or, altrament, of effective solutions to fashion and that, unfortunately, are one of the best in art. dels nostres dies.

Gerard Sala