HECHO Y DESHECHO EN CASA

ROOM 1

The exhibition begins with two documents from the conceptual period of Ferran García Sevilla, recently rediscovered by chance after having been considered lost, which aptly introduce some of the themes currently occupying the artist.
These are two photographs in which trails of light, or fire, drawn with matches appear to emerge from the artist’s eyes. In relation to his recent paintings, such as the red diptych exhibited last year at the Fundació Pilar i Joan Miró in Mallorca — and which continues the series of paintings he presented at the Spanish Pavilion of the São Paulo Biennial last year — these images become a metaphor for an understanding of painting — the image — as the manifestation of multiple energies.
These energies turn into a nebula of drippings and superimposed rapid lines that creates an incorporeal and vibrating volume of metaphorical nature. They probably tell us that the ineffable cannot be represented beyond fragile and nervous movements that function as a kind of testimony to its search. In this way, what appears to be abstraction becomes the symbol of an undertaking as tragic as it is absurd because, if there is a secret, it will remain undisclosed.

ROOM 2
In recent years, Ferran García Sevilla has incorporated into the repertoire of music he always listens to while working the pulsating rhythmic textures of techno music, which are ultimately connected to trance states and ritual experiences. In his recent works, the celebratory repetition of gestures, forms, and colors can be seen as an echo of the rhythmic and melodic structures of this electronic dance music.
The surfaces of the paintings that form this second, compact group of works are characterized by being covered with repeated elements whose shapes suggest matches, comets, or vertical spermatozoa. These elements create a mural image reminiscent of a shower of fireworks that reaches the sky only for an instant before vanishing immediately and irretrievably. Once again, the artist seems to suggest that definitive truths are impossible and, moreover, that painting is simply painting.

ROOM 3
Ferran García Sevilla has always pursued ambiguity, finding in abstraction, over recent years, a territory perfectly suited to it.
His latest paintings avoid both the metalinguistic — a musical painting that is only pure form — and the narrative — toward which representation tends. Instead, he attempts to make painting itself, and only through its own attributes, speak about its limitations and its possibilities: what it is and what can be done with it.