Baltazar Torres (Figueira do Castelo Rodrigo, Oporto, 1961) is one of the most important Portuguese artists. He starts to do solo exhibitions in the beginnings of nineties in Oporto and Lisbon.

Since 1996, he starts to work in small formats, first in painting and secondary with installations, some of them are minimalists.

For the first time, Torres shows in Barcelona in Galería Miguel Marcos, in which are exposed 15 canvases and some sculptures. The paintings of Torres are visions of marine World, almost discomposed, altered by human activity. Torres works in Oporto, in Portugal, Atlantic country that stand out for his exploratory desire. In fact, Portugal leaves some kind of imprint in countries like Angola, Mozambique, Africa, Brazil, America, India and Macao, among others.

The work of Torres it is the reverse of this exploration, of cultural expansion, and explores the consequences of decontrolled civilization. The painting of Baltazar Torres is resumed in some binomials:  Informalism against progress, gesture against geometry, dripping against certainties. His installations are crowded of different beings, which are suffocated by constructions.

Between progress and metareality, the paintings of Torres have some reminiscences to black painting of Goya, hypnotics for its use of colour, forceful in the infinity of brushstrokes, and its impossible harmony.

The viewer could think about marine world or a sort of collective radiography. The question that we have to ask in front of the canvases and their colours: greens, yellows and intense blues is that they execute similar process to marine currents when they meet.

The title of the serie “Persecución” tells us about cultural paranoia. Is not de progress the persecution of a dream? The persecution of progress is the threat of environment. All coin has his own reverse, as canvases of Baltazar Torres.