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Pretérito

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.

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.

Hornacina

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.

Sábana y muleta

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.

Máscara

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.

Allá arriba

31 x 42 cm.
Oil, graphite and wax on paper.
2017

.
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.

Ascensión

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.

Salina

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.

Atlántico

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.

Santa Lucía

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.

Un pie sobre otro

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.

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.

La caída

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

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El duelo

156x170x45 cm
Graphite on pinewood, steel and concrete.
2017

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Description:

Two concrete molds of my left and right fists are located on two steel supports, but at the same time they are joined horizontally by a crossbar with their ends cut at an angle. All the measurements of this piece refer to my own body.

Grime

63×94 cm (each)
Grime, urban sediments, graphite and oil on cotton paper.
2017

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Descripción:

The Grime series explores drawing through abstraction using mechanical processes as dragging and sanding using grime and urban sediments mixed with graphite and oil.

Reunión (Sacrificio)

26 x 6 x 6 cm.
Graphite and oil on wood, aluminum and iron.
2017.

Refugio mínimo para lugar limítrofe

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 two pieces are kept within my research line on the relationship between the measurements of my body and the idea of the observed landscape and its horizon. Both works start from an anthropometric premise and are resolved in a supposedly austere and ascetic way, seeking a reflection on concepts such as individuality or death.

Mineral ocean, orthogonal horizon

70×100 cm
Graphite and acrylic on sanded paper.
2016

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Descripción:

This painting on paper has their onset on a mimetic and idealized representation of the landscape that reaches a simplified formalization. On that way towards conceptual abstraction and pictorial work, I’ve combined chromatic interests -the paintings are based on several layers of ultramarine blue paint and an acrylic formulation of my own based on graphite- with other materic interests -the alteration of the paper and its subsequent process of sanding- in order to reach a metallic finish that join forces with a representation of a great dark ocean from an orthogonal point of view.

Como tizón quemado

Individual exhibition.
CGAC (Santiago de Compostela, España).
March — December 2015

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Charcoal and graphite on wood, rope, metal and sackcloth.
Installation.
2015

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Curator:

Alberto Carton.

Exhibition leaflet:

[PDF]

More info:

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Photography:

Manuel G. Vicente

Current exhibitions
Upcoming exhibitions
  • Bajo el brazo. Entre la palma de la mano y la axila
    CaixaForum Barcelona
    Enero 2018

© 2017 | Christian García Bello