Josep Miquel Garcia
Feeling expressions
VALL PALOU COLOUR FIELD
Informalists and Abstract Expressionists painters freed from representation the paintings, but especially from a methodological consistency. Not feeling constrained to an elaborate process or premeditated, their discovery was really a lever. The artist knew the beginning, not the end, accident and chance guided their hand and brush without the use of reason. No most free proposal for painting exists as this where the boundaries are open and action guides the process and outcome. Painting reaches its trail and its testimony, emphasizing an area that gets the role of the background of the picture as a motive and theme. Of all the contributions of the century, the Informalism is the farthest door in their outlook and the most subjective way.
Obviously, this is not a closed door or a window ajar, but a reference in which reposition. Its validity is so proper as very current.
Vall Palou’s painting, who these days has exhibited in the Gothic Hall of the Ilerdencs Studies Institute, is imbued with this contemporary tradition, and drinks with the power of these who discloses her system. Painting with nothing preconceived, letting go by friction staining the surface and building abstract compositions allows the instinctual exercise of thr most random abstraction. Understanding the mechanisms of the trade to delimit a formless reality which discovers to sensations and surreal, imaginary and imagined colour fields.
The color is based on these fifteen considerable sized paints. A special colour spectrum, without concessions to aesthetics, in contrast, are set in a range of cool tones that harmonize the series and put it in a will to bring colour to a radical autonomy and further particularize her pictorial condition. No arguments of pure visual placidity, these paintings require placing them in their frame of reference for what the century has already probed by authors who share their concerns, yet extracting expressive possibility beats.
Reading and understanding can be independent of the will of the artist. If she has used an action on the surface of the canvas, the viewer can set own deductions, of plastical organisms, sunsets landscapes, cosmological textures, which illustrate the performance of Leonardo da Vinci, to find images in the damp walls, aged and informed. Established as an area that builds itself, this painting allows to its reconstruction process, and relies on the accumulation of accidents … drips drawing shapes and structures, dripping, collage, mixed methods, neglecting water and oil techniques.
In all previous exhibitions by the artist in our city, in Armengol MenenGallery in 1996. Indecor 1997, and in the College of Architects in 1998, this is the longest ranged and ambitioned sample, of one Lleida painter who strives to vindicate the attributes of painting.
Josep Miquel Garcia
Chief of Plastic Arts. Generalitat de Catalunya
El Segre newspaper
Informalists and Abstract Expressionists painters freed from representation the paintings, but especially from a methodological consistency. Not feeling constrained to an elaborate process or premeditated, their discovery was really a lever. The artist knew the beginning, not the end, accident and chance guided their hand and brush without the use of reason. No most free proposal for painting exists as this where the boundaries are open and action guides the process and outcome. Painting reaches its trail and its testimony, emphasizing an area that gets the role of the background of the picture as a motive and theme. Of all the contributions of the century, the Informalism is the farthest door in their outlook and the most subjective way.
Obviously, this is not a closed door or a window ajar, but a reference in which reposition. Its validity is so proper as very current.
Vall Palou’s painting, who these days has exhibited in the Gothic Hall of the Ilerdencs Studies Institute, is imbued with this contemporary tradition, and drinks with the power of these who discloses her system. Painting with nothing preconceived, letting go by friction staining the surface and building abstract compositions allows the instinctual exercise of thr most random abstraction. Understanding the mechanisms of the trade to delimit a formless reality which discovers to sensations and surreal, imaginary and imagined colour fields.
The color is based on these fifteen considerable sized paints. A special colour spectrum, without concessions to aesthetics, in contrast, are set in a range of cool tones that harmonize the series and put it in a will to bring colour to a radical autonomy and further particularize her pictorial condition. No arguments of pure visual placidity, these paintings require placing them in their frame of reference for what the century has already probed by authors who share their concerns, yet extracting expressive possibility beats.
Reading and understanding can be independent of the will of the artist. If she has used an action on the surface of the canvas, the viewer can set own deductions, of plastical organisms, sunsets landscapes, cosmological textures, which illustrate the performance of Leonardo da Vinci, to find images in the damp walls, aged and informed. Established as an area that builds itself, this painting allows to its reconstruction process, and relies on the accumulation of accidents … drips drawing shapes and structures, dripping, collage, mixed methods, neglecting water and oil techniques.
In all previous exhibitions by the artist in our city, in Armengol MenenGallery in 1996. Indecor 1997, and in the College of Architects in 1998, this is the longest ranged and ambitioned sample, of one Lleida painter who strives to vindicate the attributes of painting.
Josep Miquel Garcia
Chief of Plastic Arts. Generalitat de Catalunya
El Segre newspaper