Antoni Pinyol Gallery presents the first solo exhibition of Bruno Ollé (Barcelona 1983) in the city of Reus.
After 6 months living in GlogauAIR / Berlin (Artists Program) he decided to stay and settle in the district of Neukölln, where he is doing all his art projects for a little over a year. This past year he has participated in several solo and group exhibitions which include “Collection of dead Particles” at Vladimiro Izzo Gallery and the participation in Das Apartment (known underground space of the city where many artists have been internationally recognized today)
Bruno Ollé presents at Antoni Pinyol Gallery a series of small intimate drawings where the artist plays with the pen, paper and himself. Drawings that he makes in poems or poems turned into drawings. In the exhibition we can also discover small objects-sculpture, which he calls “the absurd Banners”, with whom he ironizes half silent on the decision power of the crowd at the branches of government. These standards are part of a performance where the objective is to demonstrate basically out to accomplish nothing. For romance, altruism or simple positioning maverick.
We can also see parts of the project “Collection of dead Particles” which he began upon his arrival in Berlin and it is still open today. Every day collecting waste generated, whether tangible or material. Creating a small journal of daily experiences.

The exhibition is divided into four projects:
“Tropical paintings 2004-2007. The themes of these paintings focus on organic elements (fruit, seaweed, rocks …) found in recent trips to Brazil, Argentina and Thailand. They are futher pictorial results from pen drawings on paper.
“Project India” 2006-07. After 6 months working and collecting ideas in India I develop a detailed and meticulous technique similar to their traditional technique. Most of these paintings are a collection of two units where we sense a religious and symbolic Indian thematic .
“Naturaldia” 2008-09. After working almost two years a detailed and meticulous painting in the Indian project, I begin to develop a project with a much more free and expressive result. They are heavily textured paintings, that show a result of combination of colors contrasting with circular motions.
“Fiord” 2009-10. This project focuses on the investigation of a plastic repertoire of rounded shapes and a range of cool colors. The faded and slides acquire great importance to create volumes and fluids.
It contains the developed technique in the Indian project, combined with the expressiveness and movement of Naturaldia project.

The light of some cracks in the blinds at various hours and days offered Àlvar changing geometric images, full of suggestions. They were images related to his recent work of repetitive and abstract paintings based on grids, lines or spellings. Who has not ever been happy with the reflections of light from a nearly closed blind during convalescence or a day of solitude and introspection? It is with time, patience and seclusion that someone can make the point to where the photos have come out of Los & Lux and the paint that surrounds them.

Assumpta Roses

Acceleration of the eye when it captures light using the photographic technique, slowing the painting process where it is located, “hemmed”, photo printing. Both are on opposite relation, therefore complementary.
The dialogue is established playing with time, the time of the fleeting light, and speculation of lived time, which is suspended and expands into the particles of trapped pigments in the colors. It’s the clash of a lost battle, naive hindrance of the artist, the romantic hero who does not know how to escape from the tyranny of real time, not suitable for appropriation of space for the stopped image, that pours a personal and unique concept brought about by the sudden arrest of this time-light of his work.

Àngel Pomerol

If my memory is subjectified for images produced by the memories, it is also endorsed by the objective of the exact memory that these objects were, by relating my own existence with the time elapsed during the performance of each of these work. These existential approaches related to conceptual approaches of “work time” place me in a precise time in the part of that reality. And they work as a pretext to plot my brain and continue imagining the future, which I’m sure I will raise the question:
What have I done?
(Art because [I am an artist) because I make art]
specifying the intention
the underlying need.
José Carlos Balanza

The portrait is a reflection on the many images that segregates the experience of living. It is also an attempt to record what we like to be, a perennial image out of the bite of time.
The experience time gives us is really revealing, the image we have of ourselves, sometimes does not match with the one that the mirror presents; that is a caricature that describes the inescapable fate. That’s why we want to define reality and how we can record it.
We are matter that interpellates, this is how we experience the dynamic experience of life, as the inner part distills between things we do and what we want and love.
We are made of silence and oblivion, we are boxes that sometimes reverberate lights.
Rufino Mesa

The artist presents in his work the artistic treatment of the machine as a component of the reality of the moment.
In this sense, the series of modules of the sculptor Neus Colet contain repetition of identical shapes that can be easily associated with mechanical parts of our common environment.
The small size of the modules and their attachment to minimalism can remind us of the industrial products that aspire to the ideal geometry and express planning controlled industrial design.
The artist here takes up the philosophical idea of pure forms using the circle, beginning and end in itself. She works with the full and the empty, with what is and what is interpreted.

Touching between lost arteries and the heartbeat of forgotten objects.
Invisible elements that draw an scrap path to an empty table.
Framing, the deviation and the doubt. Nailed to the wall, the cosmic estrangement and the longing of the world with travel pictures and curious elks.
Different pieces in different media-videos, photographs, objects, are generated from the same reason: the estrangement of the world or the impulse to see what is invisible. Because the objects perceived several times begin to not be seen.

Punts Suspensius is a work made by photoetching techniques and procedures, which tryes to open a road to connect the birthplace (the nest) with the universe.
It starts from a photo of a kiosk of dwellings for birds. Strategies of attrition are used, through the power of chiaroscuro and the contrast between full and empty spaces.

The proposal reconsiders the initial value and condition of the object itself, the reason for which it was created. Once this object ceases to be useful, it no longer serves to any purpose. With this work, in a way, I wanted to pay tribute to these objects impregnated with previous experiences, which they also lose an inherent condition, the three-dimensionality. Crushed first and cut and separated later, the resulting fragments find a new way to organize themselves, as they become irreducible objects.

(The title is taken from the book “Work and days” by Hesiod (S.VIII a.C.)
In this book the Greek poet creates a singing to the honesty and to the work dignity, against the idleness and the laziness. Also he shows a mythological and poetic evolution of the humanity ages associated to different materials: Gold, silver, bronze, iron…
The exhibition holds
The installation “Gli strumenti dell’arte”
Drawings of the series “Sculptor constellation”
The installation calls up the extension of the own body, to a series of elements that become prosthesis of the inner need of making and they finish becoming facts; tools that once dumb and put on the solemnity of the shelf, push us to remember the use in a kind of resonances dialogue almost sacred.

He lives and works between Madrid, Santiago de Compostela and Montevideo.
He studied in the workshop “Bien al Sur”, Joaquin Torres Garcia Museum.
Classes on art theory with Anhelo Hernández (direct student of Joaquín Torres García) at National School of Fine Arts in Montevideo.
He creates Puerto54 Workshop where he begins to explore the introduction of criteria expressions to the idea of structure in the paint.