Generación 2022
Screen prints made with lead minium and pine bark inks on cotton paper dyed with oak bark; and sculptures crafted from various materials, including graphite, lead, and oil on pine wood, porcelain, leather, iron, cotton, beeswax, and sperm whale spermaceti.
Variable dimensions
2022
In June 1965, Luis Seoane wrote a letter to his partner Isaac Díaz Pardo from exile in Buenos Aires, in which he stated that “there are unpublished Galician forms embedded in the landscape” and added that “they are there for those who know how to collect them.” These forms can be found in the contours of the land, in the tools of ancient trades, or in vernacular architecture, embodying the haptic memory of a territory and forming a kind of osmosis between identity, thought, and collective consciousness.
The unique characteristic of Galicia’s sgraffito tradition is that it exists solely as an organic ornamental solution within popular architecture, unlike in Castile or Catalonia, where it also appears in erudite architecture. Since the 16th century, local masons have refined the plastering of facades, reinterpreting the decorative elements of churches and cathedrals in Santiago de Compostela, Ourense, and Lugo.
With a perpetual vocation for examining, decoding, and re-encrypting the landscape we perceive, inhabit, and transform, this project adopts the methodology of those masons to intellectualize, geometrize, and bring into the present the unpublished Galician forms that Seoane pointed to—now resignified as fragments from which to construct a language, a glossary.
The artist presents a series of works crafted from materials deeply connected to the Galician territory—pine and oak bark, beeswax, sperm whale spermaceti, and lead minium—seeking to distill sophistication within austerity, analyzing how we perceive and inhabit the land, and synthesizing a sculptural language that reinterprets vernacular forms.
