Miguel Marcos Gallery presents Sedmentación, exhibition, which show the latest works of Ricardo Calero. Last years has being importants for Ricardo Calero’s work. In fact, he has consolidated his reputation due to honest, sincere and committed work. His actions lead him from Montréal to Domincan Republic, from Monegros desert to Giffre Valley in France.

His exhibitions have travel to Venice, Rome, Washington, México D.F., Prague, Cologne, Madrid and Bad Homburg. Although, his last exhibition in Barcelona was long time ago, in fact it was in 2000.

His exhibition in Galería Miguel Marcos shows a singular artist, who learns to do as well as allow someone to do. Sedimentation is mix, which combines water and time as main characters, feed it by binomial things or spaces: indoor natural / outdoor natural.

The result of this is due to the question that Calero had do to himself in 1984: Is necessary the presence to occupy a desire space? This question was resolved with a liquid that disappeared, evaporating itself but leaving some kind of traces. This was the creation of space through the absence.

Ricardo Calero has prinicipal agents of his works: the land, the weather and the time. Some drawings were abandoned in Mount Taunus in 2001. This was a symbolic exchange with nature. The same happened with the papers and letters that are in Fuendetodos, near the birthplace of Goya. These works would be examples of what the artist calls “foreign natural”, and develops alongside it calls “natural inside”, where human presence and social commitment have a key role. I fit into this second chapter the heartbeat of Time project, shared with the photojournalist Gervasio Sanchez, or the actions developed during seven years in the Cabo de Gata, where passports scattered on the waves, thus alluding to the problem of immigration.

Water, land, fertile but paradoxical elements have necessarily seduced the artist. The mediator is also shown, in his image. Parts of the Baptismal series were created in Albarracin using the Guadalaviar River. This is an excellent example of "external nature". Calero enters the water his paintings, some quite large, and let the plants river -the him shaken or sediment transported the work without haste. The letters and words emerge previously recorded.