SABADELL, 1945 Torrecilla
Work done within the most complex canons of naturalistic realism, seeks the most aesthetic part of painting.
Through the herbs of margin and Nature in constant struggle to defend and maintain the life of small things, tells us the strength of what is the supreme reason to live.
From very early on he showed his inclination towards the artistic manifestation, and painting was his favorite medium of expression. He began his artistic career with the help of Jaume Mercadé and later studied drawing and painting with the masters A. Ribera, Alfons Gubern and M. Rallo. In 1963 he entered the Massana School where he won a prize and scholarship for the first course of Applied Arts. He graduated in 1968. He has participated in numerous group exhibitions getting several awards. He has made personal exhibitions in Catalonia and France. His work is part of private collections from different countries. In his paintings Torrecilla tells us, through the margin herbs, of nature in constant struggle to defend and maintain the life of small things, the strength of what is the supreme reason to live. Painter of natural detail, he knows how to capture the intense life of what is small in appearance. Work done within the most complex canons of naturalistic realism, seeks the most aesthetic part of the painting, where color plays a role as fundamental as the stroke, drawing or motif, putting the counterpoint to the rhythm of the form.
THE CONSCIOUS AND SAFE ASCENSION OF MIQUEL TORRECILLA
by Josep M. Cadena
It is not precisely yesterday and, although the date may seem too far to all of us, I am very clear and in a diaphanous way, which was at the beginning of 1987 when I first saw Miguel Torrecilla’s pictorial work. He already came from before but I, as an art critic, did not know anything about him-I apologize, if necessary-until that year. It was, I think, I’m sure, in the Subex gallery in Barcelona, specializing in works of a figurative nature, but with a desire to have human feelings through the representation, as accurate as possible, of the environment in which all we move. And that is what Torrecilla did, dedicated to tell us through the margin herbs, of Nature in constant struggle to defend and maintain the life of small things, the strength of what is the supreme reason to live.
Torrecilla was then an entomologist of painting, an herbalist of art, a person who went with his head down in a creative sense, not overwhelmed by the adverse circumstances of existence, but with a will to find a sublimation of the natural fact and, only in appearance, without any supreme object.
I have known painters who look up, towards the distance of the horizon; others who have their eyes at ground level and who capture what they see with the best possible perfection; and also some third-parties who swallow everything, who swallow reality and make it their own based on feeling that they belong to it. They are ways of feeling that, along with others that exist but that if I tell them I move away from what I now want to explain, they are perfectly valid and must be defended. But Miguel Torrecilla belonged to all three at the same time and others that he could not yet specify and which he would now define as the will to be reborn, to overcome his own problems brought about by his own existence and with a creative sense towards his neighbor, who had no fault of his own. what happened to the artist.
I have been following Miguel Torrecilla for more than twenty years and I have written short and longer notes – I am a critic seeking more concretion than dissemination – about the Evolution of super work. Because the artist, little by little, in a natural way, has changed the scope of super look. The eyes, which were sinking to the earth, which analyzed a few square Palmos of field margin, have risen to supply a large part of the horizon. He is the Same in the sense of observing super environment, of searching and finding what most represents all of us, but has a more open, broader and more determined creative push to find new reasons for existence.
I think the painter has evolved positively since I knew what for me was an excellent beginning of super work. I found it when, without my knowing it -then I had never spoken to him and then I did very little and I felt it- it evolved positively in super form of manifestation. He believed that he should keep closed on himself, but it opened naturally in the morning. Shy, with precautions, wounded and with a will to heal, creative without impatience, slow and constant, sure Within the constant doubts … In short, ready to be an artist for the And for the tomorrow as, after the years and After an ever growing career, it proved to be.