Around the multiple "Closques" Benet Rossell uses the relationship between form, concept and word, where the poetic language refers the object to the concept - the new one, verbalized as "shell", evokes an image suggested by its own shape, the brain- to highlight the leitmotif of this exhibition. Because the brain, the depository of the biosensitive and bio-cognitive capacities, the intellectual background, the emotional atlases and the artistic know-how, is now the center of a work approaching the functional psychobiology that Benet Rossell du carried out in collaboration with a team of researchers from the University of Barcelona.

The thinking and mechanisms that govern it, the artist's will to confront himself through experimentation with his own body, and to assume with humility that all creation is subjected to the chain of physical events and The chemicals that generate it is, at least, a deacralizing act, which aims to bring art closer to life, and to nature.

Thus, the series of "Memograms", handwriting on paper with the inclusion of real images of the artist's brain, is a first result of this desire to appropriate one's own biology, Deepen in the knowledge of the physical and mysterious, tangible and unknown origin, real and hidden of the artistic task.

The exhibition "Icono" and "Grafia" diptychs, two prints on the dry showing the imagined alphabet of Benet Rossell, and a last engraving, "Like a self portrait", which includes a spontaneous gesture that evokes a child's face , perhaps the image of the artist when he ignored although some new ones can be brains.

From biology to hyper-realism, from nature to culture, from reality to metaphor: conceptual, friend Watson?

Cristina Giorgi
April, 2001