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Haarlem, 1573

16 x 23 cm.
Oil, graphite, wax and varnish on paper.
2018

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The windowsill

41 x 50 cm.
Oil paint, graphite, wax and varnish on paper.
2018

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High, almost full

25 x 32 cm.
Oil paint, wax and varnish on paper.
2018

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With an open window to the continuity of greyness I

63 x 92 cm.
Oil paint, wax and varnish on paper.
2018

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With an open window to the continuity of greyness II

63 x 92 cm.
Oil paint, wax and varnish on paper.
2018

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Minimum refuge for a bordering place

180x120x45 cm.
Charcoal on wooden paddles, iron knife.
2014

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Injuve_Logo

Project funded by Ayudas Creación Injuve
Work acquired by Colección DKV

Ascetic vacant (Part I)

90x180x13 cm
Concrete, pinewood, leather and charcoal.
2016

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Description:

This work —which is within my research around the individual, his scale, and the landscape he inhabits and perceives— is based on an anthropometric premise and a formal ascetic resolution that triggers an objectual reflection on concepts such as absence and death.

Milladoiro

80 x 18 x 12 cm.
Graphite and oil on wood, leather, metal.
2017

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Description:

In this series of sculptures I work with concepts such as temperature, conservation and patina through a voluntarily ascetic strategy that uses a mathematical rhetoric and a transcendent nebulousness that swims between the tangible and the ethereal.

The theoretical framework of the works refers to the longing for the imperishable reflected in the “Philosophical study of time” collected in the “Confessions” of St. Augustine of Hippo. Formally, there are also references to elements of the Galician landscape.

One foot on another

45 x 22 x 8 cm.
Graphite and oil on wood.
2017

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Description:

In this series of sculptures I work with concepts such as temperature, conservation and patina through a voluntarily ascetic strategy that uses a mathematical rhetoric and a transcendent nebulousness that swims between the tangible and the ethereal.

The theoretical framework of the works refers to the longing for the imperishable reflected in the “Philosophical study of time” collected in the “Confessions” of St. Augustine of Hippo. Formally, there are also references to the Galician landscape and, in this case, to the iconography of the crucifixion according to Catholic tradition.

Private collection.

Preterite

14 x 18 cm.
Oil, graphite and wax on paper.
2017

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Description:

In this series of drawings I work with concepts such as temperature, conservation and patina through a voluntarily ascetic strategy that uses a mathematical rhetoric and a transcendent nebulousness that swims between the tangible and the ethereal.

The drawings of oil and graphite on cotton paper are under thin layers of beeswax. This choice, as well as the theoretical framework of the works, refers to the longing for the imperishable reflected in the “Philosophical study of time” collected in the “Confessions” of St. Augustine of Hippo. Formally, there are also references to the Galician landscape and to architectural elements typical of Catholic asceticism.

Private collection.

Niche

10,5 x 15 cm.
Oil, graphite and wax on paper.
2017

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Description:

In this series of drawings I work with concepts such as temperature, conservation and patina through a voluntarily ascetic strategy that uses a mathematical rhetoric and a transcendent nebulousness that swims between the tangible and the ethereal.

The drawings of oil and graphite on cotton paper are under thin layers of beeswax. This choice, as well as the theoretical framework of the works, refers to the longing for the imperishable reflected in the “Philosophical study of time” collected in the “Confessions” of St. Augustine of Hippo. Formally, there are also references to the Galician landscape and to architectural elements typical of Catholic asceticism.

LH LT

10,5 x 15 cm.
Oil, graphite and wax on paper.
2017

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Description:

In this series of drawings I work with concepts such as temperature, conservation and patina through a voluntarily ascetic strategy that uses a mathematical rhetoric and a transcendent nebulousness that swims between the tangible and the ethereal.

The drawings of oil and graphite on cotton paper are under thin layers of beeswax. This choice, as well as the theoretical framework of the works, refers to the longing for the imperishable reflected in the “Philosophical study of time” collected in the “Confessions” of St. Augustine of Hippo. Formally, there are also references to the Galician landscape and to architectural elements typical of Catholic asceticism.

The salt

10,5 x 15 cm.
Oil, graphite and wax on paper.
2017

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Description:

In this series of drawings I work with concepts such as temperature, conservation and patina through a voluntarily ascetic strategy that uses a mathematical rhetoric and a transcendent nebulousness that swims between the tangible and the ethereal.

The drawings of oil and graphite on cotton paper are under thin layers of beeswax. This choice, as well as the theoretical framework of the works, refers to the longing for the imperishable reflected in the “Philosophical study of time” collected in the “Confessions” of St. Augustine of Hippo. Formally, there are also references to the Galician landscape and to architectural elements typical of Catholic asceticism.

Sheet and crutch

10,5 x 15 cm.
Oil, graphite and wax on paper.
2017

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Description:

In this series of drawings I work with concepts such as temperature, conservation and patina through a voluntarily ascetic strategy that uses a mathematical rhetoric and a transcendent nebulousness that swims between the tangible and the ethereal.

The drawings of oil and graphite on cotton paper are under thin layers of beeswax. This choice, as well as the theoretical framework of the works, refers to the longing for the imperishable reflected in the “Philosophical study of time” collected in the “Confessions” of St. Augustine of Hippo. Formally, there are also references to the Galician landscape and to architectural elements typical of Catholic asceticism.

Mask

10,5 x 15 cm.
Oil, graphite and wax on paper.
2017

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Description:

In this series of drawings I work with concepts such as temperature, conservation and patina through a voluntarily ascetic strategy that uses a mathematical rhetoric and a transcendent nebulousness that swims between the tangible and the ethereal.

The drawings of oil and graphite on cotton paper are under thin layers of beeswax. This choice, as well as the theoretical framework of the works, refers to the longing for the imperishable reflected in the “Philosophical study of time” collected in the “Confessions” of St. Augustine of Hippo. Formally, there are also references to the Galician landscape and to architectural elements typical of Catholic asceticism.

Chapel

10,5 x 15 cm.
Oil, graphite and wax on paper.
2017

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Description:

In this series of drawings I work with concepts such as temperature, conservation and patina through a voluntarily ascetic strategy that uses a mathematical rhetoric and a transcendent nebulousness that swims between the tangible and the ethereal.

The drawings of oil and graphite on cotton paper are under thin layers of beeswax. This choice, as well as the theoretical framework of the works, refers to the longing for the imperishable reflected in the “Philosophical study of time” collected in the “Confessions” of St. Augustine of Hippo. Formally, there are also references to the Galician landscape and to architectural elements typical of Catholic asceticism.

Ascension

34 x 50 cm.
Oil, graphite and wax on paper.
2017

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Description:

In this series of drawings I work with concepts such as temperature, conservation and patina through a voluntarily ascetic strategy that uses a mathematical rhetoric and a transcendent nebulousness that swims between the tangible and the ethereal.

The drawings of oil and graphite on cotton paper are under thin layers of beeswax. This choice, as well as the theoretical framework of the works, refers to the longing for the imperishable reflected in the “Philosophical study of time” collected in the “Confessions” of St. Augustine of Hippo. Formally, there are also references to the Galician landscape and to architectural elements typical of Catholic asceticism.

Private collection.

Salt pan

15 x 21 cm.
Salt on paper.
2017

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Description:

In this series of drawings I work with concepts such as temperature, conservation and patina through a voluntarily ascetic strategy that uses a mathematical rhetoric and a transcendent nebulousness that swims between the tangible and the ethereal.

The theoretical framework of the works refers to the longing for the imperishable reflected in the “Philosophical study of time” collected in the “Confessions” of St. Augustine of Hippo. Formally, there are also references to the Galician landscape and to the Atlantic Ocean.

Private collection.

Atlantic

10,5 x 15 cm.
Oil and salt on paper.
2017

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Description:

In this series of drawings I work with concepts such as temperature, conservation and patina through a voluntarily ascetic strategy that uses a mathematical rhetoric and a transcendent nebulousness that swims between the tangible and the ethereal.

The theoretical framework of the works refers to the longing for the imperishable reflected in the “Philosophical study of time” collected in the “Confessions” of St. Augustine of Hippo. Formally, there are also references to the Galician landscape and to the Atlantic Ocean.

Private collection.

St. Lucia

39 x 29 x 4 cm.
Graphite and oil on wood.
2017

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Description:

In this series of sculptures I work with concepts such as temperature, conservation and patina through a voluntarily ascetic strategy that uses a mathematical rhetoric and a transcendent nebulousness that swims between the tangible and the ethereal.

This work proposes a crossover game. On the one hand, there is a mention of the martyrdom of the patroness of sight: Lucia of Syracuse, to whom, according to the Latin tradition, her eyes were taken out. And on the other hand, to a central hypothesis in all my work: that there is no landscape without an individual looking at it.

Private collection.

The fall

192x100x20 cm
Graphite and linseed oil on chestnut, bitumen on pinewood and metallic hardware.
2017

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© 2018 | Christian García Bello