The work shown at Antoni Pinyol’s gallery belong to a block named Crippled Symmetries, in which the author has been working since early 2007.
Crippled Symmetries title is a homonym of the composer Morton Feldman’s work (of whom it is said the Schubert of the twentieth century) which in turn is often based on the American abstract painting. This constant and obsessive use of symmetry is due to an attempt to build more direct and less narrative images, of an as immediate as possible presence and as powerful and forceful. Its slight “clipping”, which begins by being a non-geometric and accurate symmetry, but organic, physical, speaks perhaps about an impossibility of perfection, or rather the purpose of making a virtue of the error and a working method.
Thus, one of the key aspects in the author’s work is, for several years, the research on the relationship between the pictorial and the musical, which leads him to make a kind of painting very scenic, considering the theatrical space as a meeting place between music and image. It is, we should say, one of the centers and starters of this work.

Abstract illusion of inner vision is the thematic basis of this oil painting collection began in 2004 and still in process.
Highlight certain structures and thoughts connections, feelings and human sensibilities form the focus of this work. The relationship between illusion and reality and the possibility of a new integration between them, constitutes the heart of the matter.

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 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.

On Saturday, the 12 of June, the jury of the 18th TELAX PRIZE comprising the following members: Empar Pont Town Councillor for Culture of Reus, Abel Figueres art critic, Joan Casals artist and Antoni Pinyol galerist, acting as secretary Rafael Arasa, agreed unanimously to award the first prize to Patricia Carles for the work Estic intentant, intentant, estic procurant entendre, and a second prize for Anabel Jujol for the work Intravision No. 0905025.
The selected artists have been:
Álvaro Zamora, Sergi Quiñonero, Ricard Figueras Bonet, Eugenia Canal Badia, Carme Aliaga, Roman Domènech, Carles Guitart Esteve, Marta Ballvé Moreno, Aurembiaix Sabaté Cots, Nicholas Bedford, Elcie Alejandre Fabro, Joan Canals Carreras, Cecilia Segura, Anabel Jujol and Patrícia Carles.