BARCELONA, 1961 Juan Luis Jardí
Search, through successive nuances, the light, intense and clear, that there is at the end of the laborious process to which he submits each painting he paints.
His images, dream or real, always open a large set of possibilities for everyone to keep their opinion.
Degree in Mural Painting from the School of Applied Arts and Artistic Trades of Barcelona “Llotja”, has been awarded with important painting prizes. It has always been kept within the same line of explanation of the environment that is his own and which he has never wanted to renounce: the world of childhood, that where the person who grows, from the inside, is surprised by what he sees and, at the same time, he makes it his own with the desire to understand the different faces of the same reality.
Hence the trilogies of the same observer and even the cuatrilogía human beings contemplated from external actions to find their different reactions. In this way, it is placed between the real, what we see, and the subjective, what he sees or wants to make us see. It is a modern romantic expression. He seeks, through successive refinements, the light, intense and clear, which is at the end of the laborious process to which he submits each picture he paints. It transports us to an original and dreamed world, the artist’s own world, the streets, the New York neighborhoods, the mystical Istanbul, the antique cars, the shop windows of the old shops … His images, dream or real, always they open up a large set of possibilities for everyone to maintain their opinion.
A NEW LIFE WITHIN THE PAINTING OF JUAN LUIS JARDÍ
by Josep M. Cadena
Artist widely endowed for figurative representation and with very refined pictorial knowledge, Juan Luis Jardí (Barcelona, 1961) has a broad and well-structured creative thinking. The originality of it places it in a preeminent place among our current cultivators of a critical and at the same time ironic surrealism. The bold and well-balanced combination of images that, despite being based on the rationality of social facts pursue the freedom that dreams give, makes the uniqueness of its approach always attractive to us, and leads us to consider that, beyond the undoubted pictorial values, there is a conception on the human condition that must be taken into account for the improvement of our society.
Personally I know the work of Garden since the beginning of 1986, when for the first time I saw an exhibition of his in Barcelona, in the long gone Foga 2 art room. He, who was then a young man of about twenty-five years of age, evidenced some very remarkable formal qualities, accompanied by an original thought that I liked. I think that Garden had just obtained a first prize for juvenile drawing instituted by the Generalitat of Catalonia, and I was favorably impressed by the good foundation it had and the creative will that it showed. Although it was in its beginnings, but it showed virtues that in the exhibitions that followed that one they did not stop growing. And as for me I have to declare, with all modesty and without boasting about anything, that I have always felt great respect, tinged with admiration, for the work that this artist was building while looking for himself and understood the impulse better and better. Creator who struggles to manifest himself in humà.Les his pictorial evocations have always enjoyed great strength, as is visible in the present exhibition, in which, for example, places us as spectators of a hypothetical museum in which the figure of an elephant is reveals a precedent created by nature so that man has created the truck as an auxiliary element within the needs of the developed society. Or pick up the mystery of a romantic lounge with a lighted television in which some geese that do not pay any attention …
Each painting that Juan Luis Jardín now presents to us deserves attention in what he says and in the way he expresses himself. The painter never falls into the banality of what is simply seen, but it delves into the representation of things and makes everything have a new life.
JUAN LUÍS JARDÍ AND HIS CONSTANT DELIVERY TO THE WORK WELL DONE
by Josep M. Cadena
This is the first time that Juan Luís Jardín’s painting (Barcelona, 1961) is present in the Rusiñol Gallery in Sant Cugat. The painter arrives when his work, which he began to build from a very young age and that surprised because it was that of a prodigy of plastic figuration, has reached a high degree of maturity. And within it is necessary to emphasize that, as an artist, the author has remained within the same line of explanation of the environment that is his own and which he has never wanted to renounce. The world of childhood, the one where the person who grows, from the inside, is surprised by what he sees and at the same time makes it his own with the desire to understand the different faces of the same reality. Hence the trilogies of the same observer and even the cuatrilogía human beings contemplated from external actions to find their different reactions.
The landscape of each painting, that where the figures act, is unique from all its particularities, meticulously captured. Garden has no doubt about the environment you choose, be it a snowy landscape, very own within the moments in which we find ourselves, a beach or an urban place. And he does not doubt that the viewer – in the first instance himself, but there may also be others that exist or imagination wants to be integrated into the whole, but at the same time has several ways of doing it and he wants to represent it to understand the different options that we always have .
Every human being doubts and thanks to this can find the most appropriate way to move towards its improvement. He would be wrong if he did not hesitate, although he must do so in a positive way, always ready to find the most useful shortcut that comes his way. And to do so, Juan Luis Garden gives us, generously, the clues with his paintings.
Intensely focused on his work, the artist always wants to be sure of what he says. And although it is of natural silence when it is directly related to society, it is largely explicit when, given completely to the painting, it looks for through successive nuances, the light, intense and clear, that there is at the end of the laborious process to which each painting submits what he paints He has a natural gift that he knows how to manage in his constant search for human truth.