Benet SARSANEDAS

STANDING VITALITY IN BENET SARSANEDAS' WORK, by Josep M.Cadena

Benet Sarsanedas' painting is aerial. In his paintings, always centred in representing tangible beauty, I find the passing breath of the wind that rhythmically moves the grass of the fields and the water of the sea, forming waves all over; the light breeze that makes the leaves of the trees tinkle, and kindles the eye when we are walking through the woods and the sunshine warms up our thoughts; and even the wind, when on a mountaintop, makes us feel like some adventurous traveller through the wide inner space yet to be discovered.

And though I am no friend of ventures and am not familiar with the pleasures of hunting –he is instead a man of light legs and a wide knowledge about how the woodcock takes off –whenever I watch his works, whether of his Collsacabra countryside or of faraway territories, I think of the pleasures our Nature provides us with when we caress it with loving eyes and we abandon ourselves to it as the representation within the wide spaces of what it is the spirit of existence.

Born in Rupit, a bewitched and charming little town, Benet Sarsanedas practiced in his early years the carpenter's trade, which was a family tradition. Then he proved to be a dexterous person with his hands and rather swift with his mind. He also studied for a while at the seminary of Vic and opened his mind to culture, which is not tantamount to knowing a lot of things but to know how to put them together and be able to think properly about what is going on around us.

Quite peculiar in his painting, Benet Sarsanedas reaches us as a proper and natural thing, as if coming out from the inside when, in fact, it originates outside. That is, he is the actual artist, but he behaves in such a way to make us all feel as the central characters of what he is narrating with the vitality of his shapes, seen through colour. However, he does not want to impress us with the well laboured ease with which he expresses himself, but he immediately gets hold of us his when he awakens our mental state, upon which he had been experimenting before. I personally believe that, being so generous and vital, he is leaving in each one of his paintings a part of himself. A non-measured part, which he reviews when, as he does now in this exhibition, it is offered to us in each one of his works.

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