Carlos Díaz! A much awaited artist at the Rusiñol Gallery. Finally and for the first time, Carlos Díaz is with us on this occasion of our 28th anniversary. His wonderful work fills the three rooms of our art gallery. According to him, it is on the ground floor (rooms number 2 and 3) where we can contemplate his most intimate work: bright little corners touched by the play of light, of the “Stolen light”…
After a brief presentation, Ignasi Cabanas passed the word to Mr. Josep M. Cadena. The first part of his dissertation was a congratulation to the Rusiñol Gallery. “We are pleased for achieving a new stage: 28 years! In the trajectory of this art gallery we capture a profound respect for painting, because it isn’t done as a simple “experimentation” —treating “random” things— but seeking reality; a reality which is multiple, varied, diverse at every moment. It is like the sea where the waves are a precise concept (“waves”), but, at the same time, they are always different”.
Mr. Cadena follows by explaining the role of the art galleries: “By remembering the famous statement of Churchill about the democracy (the less imperfect of the political systems), we can say that the relationship between the painter and the galleries perhaps is not perfect, but it is the best that there is. The art galleries defend the painting, the painters, the collectors and art as a matter of fact. Congratulations, Rusiñol Gallery!
In the second part of his speech, Mr. Josep M. Cadena focused on Carlos Díaz. “He is a figurative painter! I remember that his first exhibitions attracted the atention of the people: he painted things that existed, things that we are within our reach. He went against the trend, since it was assumed that young people had to experiment. Actually, he had already experimented: in fact, he simply explained the reality… Great exhibition to celebrate this 28th anniversary!”.
Carlos Díaz expressed his gratitude to the Rusiñol Gallery and he conveyed his congratulations for these past 28 years. He also thanked Mr. Cadena’s words. At the same time, he explained the structure of his exhibition. On the top floor of the gallery we find the most scenic part of the collection: architecture and geography. Below, on the ground floor, there is the most personal part, where he manifests himself more intimately. There we catch the light as the motor of his work. “The priority issue is to find the light”. He defined technically his work as an “interior realism”, that is, the realism filtered through his inner life, so a “contemporary realism”.
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