PRELUDIO follows the road begun with the Vestigio sequence, through which the artist Aryz – Octavi Arrizabalaga (2x cover artist) engages in a dialogue with a number of the creators who’ve influenced him all through his profession. On this event, he presents a sequence of large-format oil work conceived as small visible dialogues with the good masters of portray. Every work is a tribute to the classical pictorial custom and a few of its basic themes.
For greater than a decade, Octavi Arrizabalaga — Aryz (Palo Alto, California, 1988) has traced some of the distinctive cartographies of up to date city artwork. With PRELUDIO, the artist consolidates a brand new part through which his creativeness opens as much as dialogue with the custom of portray.
Since 2019, Aryz has determined to shift his observe and cut back his mural manufacturing so as to retreat to his studio in Cardedeu. This modification has allowed him to delve deeper into easel portray, exploring the painter’s craft and the wealth of its technical prospects with larger freedom.
The works introduced collectively in PRELUDIO perform as pictorial collages, the place fragments of artwork historical past coexist with modern gestures. From Van Eyck to Rubens, from Manet to Koons, the references don’t seem as literal quotations, however moderately dissolve right into a language of their very own; free and important. Notably placing is the piece Los galeristas (2023–2024), a large-scale oil portray that evokes Slim Aarons’s color images and his glamorous portraits of elites, reinterpreted right here with refined irony. Removed from nostalgia or mimesis, Aryz appropriates the pictorial language so as to query it from inside, opening a threshold in the direction of but unexplored territories. The title of the exhibition is just not chosen at random: this prelude doesn’t announce an ending, however a starting. A portray which, by trying again, finds new methods to maneuver ahead.
