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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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Beneath the Arm: Between the Palm of the Hand and the Armpit

Curator: Ángel Calvo Ulloa
Group exhibition.
CaixaForum (Barcelona).
January 30th – May 20th 2018.

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[Online Catalogue – EN]
[More information]

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.

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.

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.

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.

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.

The fall

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

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Ahora no es pretérito todavía

Individual exhibition.
FORMATOCOMODO (Madrid).
September 14th – November 17th (2017).

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Text:

Within the programme of APERTURA 2017, Christian García Bello (A Coruña, 1986) will present the exhibition Ahora no es pretérito todavía, his second solo show of at FORMATOCOMODO in which he will present his new works about the individual and its own temporal and spatial scales. The exhibition takes as a starting point the human’s longing for the imperishable, as well as the Philosophical study of time, taken from the Confessions by Saint Augustine of Hippo, putting the human being and its perception at the center of the game board. Thus, García Bello works with concepts such as temperature, conservation and patina of sculptures and drawings, through a strategy that tends to asceticism.

Exhibition leaflet:

[EN · PDF]

Reviews:

Miradas IV

Centro Torrente Ballester
Ferrol, A Coruña (Spain)
June 9th – September 9th 2017

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Miradas IV is a project that was born as a memory and as the present, with one eye in the mirror and the other on new objectives, other names and circumstances in other possibilities. The eye in the mirror looks at and evokes the cycle of exhibitions Miradas virxes, which starred part of the exhibition offer of the Centro Torrente Ballester in the early years of the twenty-first century. Today the reality that gave fruit to this group of individual exhibitions is quite different, probably less euphoric, less exciting, but equally as prepared and without a doubt more demanded, while at the same time less supported and with less expectations. Manuel Eirís, Christian García Bello, Alejandra Pombo and Damián Ucieda are some of the most outstanding representatives of this other generation, four new ways of seeing in four small individual shows, intertwined in a collective exhibition.

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Artists:

Alejandra Pombo, Manuel Eirís, Christian García Bello y Damián Ucieda.

Curator:

David Barro

Production:

DARDO

Organization:

Concello de Ferrol

Photography:

White Dog Studio

The duel

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.

Reunion (Sacrifice)

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

Current exhibitions
  • Bajo el brazo: Entre la palma de la mano y la axila
    CaixaForum (Barcelona)
    30.01.2018 — 20.05.2018

  • Con-secuencias. Colección DKV
    DIDAC, Fundación Granell, Iglesia de la Universidad (Santiago de Compostela)
    06.02.2018

Upcoming exhibitions
  • ARCOmadrid 2018
    FORMATOCOMODO, stand 9B02
    IFEMA (Madrid)
    22.02.2018 – 25.02.2018

© 2018 | Christian García Bello