Under the heading Real, I would like to invite the viewer to see the works and their relationship with the others. The heading of the work as well as the exhibition itself is not never descriptive, neither explicative, it means as signal, both paradoxical and ironical. In fact, this signal works as counterpoint and avoiding lectures and frontal visions. The images that appear in the works are designed randomly. Usually, I prefer using some images that are indifferent and non attractive for me, because I avoid any kind of easy effects. As more distant and silent, the image, more adventurous is.

The expiry date of the images is getting shorter. The images no longer have neither the capacity to count themselves; wishfully we think they do. These images reach inert canvas as neutral dough. Thanks to resume painting perhaps achieve a certain power of attorney, a return to static life and especially for its ability to astonish to reappear in a mixed scenario where the boundaries of fictional reality are elastic and capricious. Thereby aspire to anything that is normally seem strange and everything seems normal appear as strange.

My work has nothing in table gestural. Is it analytical? In part yes, a paradox. Certainly, is no claim of 'style'. For me the styles are suitable tools to use when the occasion demands, so the gesture, at times I have resorted to it was a simulation and purpose, instrumental. What I intend to do with this? Paint is easier to count, but I took the risk that predicts a failure of trying to do the latter. Ironic, cool, disrupt, to distance, this is the field. The whole process of showing hiding, hiding teaching, are the perfect tools for the purposes outlined above. I remember one of my works of 1991, in which we can read on blank score text: “Half of everything is secret and the other half is hidden”. Read this statement as an announcement of some of the strategies that drive my work and become visible in the final result presented to the viewer.

This exhibition, Real is to be seen in a certain space, in this case Miguel Marcos gallery in Barcelona. Although each picture is autonomous and can be seen as such, in relation to the other invites vision and most prolific and complex reading. In fact, every space of the gallery is an act of the final work.

Chema Cobo