The entrance door of the Merayo Foundation will open again tomorrow (8:00 p.m.) to kick off, once again, a vast program of artistic and cultural activities, in which plastic and visual arts exhibitions will alternate with conferences, presentations of books or music concerts. In this new event, the ritual of encounters between art, creators and the public is renewed.
In the emblematic chapel, Enrique Guzpeña, a painter from León with a consolidated career, exhibits his work, which hangs a collection of paintings called encounters, because in it the painter has wanted pieces from different periods to engage in a fruitful dialogue, articulated around some of the plot themes that have been present in his creative evolution. Imaginator of spaces that contain shapes, Guzpeña’s aesthetic integrates geometric symbolism with intense color. Neither more nor less than the world of concepts mediated by that of emotions. Dolors Bosch’s Paintings and collages endow the antechapel with a magical and unreal atmosphere, since unusual figurations are present in this representational set: eccentric and metamorphic characters that coexist with signs of linear order and with undulating and rhythmic graphs, close to a pseudo-writing automatic, which link with his inner world, and even beyond, with a mythical world. The abstract language of surrealist overtones, together with the flatness of the chromatic fields and the spontaneity of the lexicon, place this work in the formal and stylistic orbit of the avant-garde. Form and construction is the enigmatic work of Jaume Rocamora (Tortosa, 1946) based on the order and restraint typical of geometric abstraction, a current of which this author is one of its most genuine representatives today in Spain. His work links with the European tradition of avant-garde non-representational painting movements, based on the line -Malevic’s Constructivism, Mondrian’s Neoplasticism or the rationalist approaches of the Bauhaus- and to which, after years of activity, he has remained faithful and has provided special and innovative techniques and materials.
Ángela Merayo exhibits the series called the music of silence which is dedicated to and inspired by the Cistercian millennium. Made in 1998, it uses watercolors and Chinese ink, a technique that is scarce in his production, but very suitable for plastically interpreting the aspirations of austerity, spirituality and transcendence of this reformed order. Works that are embedded in lyrical abstraction in which chromatic stains and figurative references of attenuated gestures, suggest archetypal forms of Cistercian architecture and its white and transcendent light. The collective exhibition of sculptors brings together the following creators: Antolín Álvarez Chamorro, is a prolific sculptor, heterogeneous in the use of materials, who on this occasion contributes two works to the exhibition: Joined (walnut wood on iron base), in which the magnificent carving work supports a no less interesting conceptual meaning, and Aidcomplex sculptural ensemble made of walnut wood, iron and rope.
The work of Carlos Cuenllas, a regular in the Foundation’s courtyard, manifests itself in a wide range of contemporary sculptural expressions, both in the use of materials -industrial, waste…- and in conceptual and metaphorical fields.
For this occasion he has set up his minimalist Setal. Cosme Paredes contributes this time a small piece called Sower, which, made with his usual technique of iron sheets assembled as a collage, entails a more static proposal and reaches a level of emotion higher than that of his usual animal house. Mariano Gutiérrez completes his contribution with works entitled Road to Ithaca Y The Vitruvian Woman, made with stainless steel rods and filled with colored epoxy resin. In both the characteristic stylization, the formal synthesis and the symbolic distance from the ground are maintained.
To the Homeless of Javier Robles who has his home in the garden of the Foundation joins him this year Giddy Up, the character (boy) who plays with a wooden horse (stick and head), from the series of traditional games. It is a representative piece of his work with clear volumes and full of tenderness. The Leonese sculptor Juanjo Feral exhibits silhouettes of Ballerina and Greyhound, made with pieces of iron and brass within the figurative tradition; They respond to the concept of a diaphanous interior that values the dialectic between matter and transparency, covering and essence.