Xavier Grau (Barcelona, 1951) presents in Galería Miguel Marcos new serie of paintings under the heading Spout & Coffin. Under the enigmatic and foceful title, hide the thoughts of an artist who works “at breakneck speed”, without canvas or parachute, fully involved in his language that is both a research tool and tight maze off. Xavier Grau is aware that language has him, and not vice versa. Whether inherited language of Duchamp, Picabia, Guston and Picasso, or his gesture, his eye, his mind, has woven and unravelled like Penelope waiting in her postponed over 33 years, in The Odyssey.

In Grau’s painting of substrates are confused, engineered on a kind of amniotic fluid prior to articulate the reason language, and the readings multiply. The face and breath of the creator, characterized by his graffiti stroke, the dripping, the eye-sex, the inner light of their particular Hortus Conclusus, nest on the surface of a fabric that transcend crave crudely peak shock. And at the same time, fear of suffocation that illogical set of logical. After a seeming chaos, Grau uses irony as physical and mental distance to unravel the gibberish language and the labyrinth of the artist in his creative process, made of moments, scraps, appropriation and conceptual points. This is an exemplary exercise of something we might call, with appropriate caveats, "critical automatism".