Drawing the world
Drawing the world
Natividad Bermejo, Jesper Dalgaard, Pauline Fontdevila, Jose Antonio Hernández Diez, Pierre Huyghe, Francesc Ruiz, David Shrigley, Nedko Solakov, Zush.
All the media imaginable are available today to enable artists to express their discourse. Amongst these, drawing long ceased to be a preparatory technique and has become a medium that implies immediacy, freshness and versatility. At once different and complementary to other, more technological forms of expression and other, more complex and collective production formats, drawing once more transforms the creative process into an essential state, into a meeting with the artist, with pencil and paper. All this happens whether or not the final work takes the appearance of a paper, a watercolour, an animation, a digital photograph or a photographed storyboard.
We can see, then, that drawing is only the instrument, and not the end in itself, a symptom related to an attitude: one that seeks to comment on the world that, far from adopting a fundamentalist or moralising stance, instead conjures up all our doubts and insecurities, irony and humour, our subconscious or our mind maps, to reveal us reflected (and deformed) in concave mirrors that bring tremendously human aspects into the light.
“Drawing the World” means engaging with a renewed gaze, seeking fresh perspectives and other ways of seeing things. Drawing the World brings together nine artists who, within different parameters, share this same attitude.
David Shrigley’s drawings allude to the darker aspects of everyday existence. They are direct, making no concessions as they portray the most absurd aspects of our society. For Shrigley, “Humour is just the sugar that you put on top of the message to make it sweeter”. Taking an absolutely personal, do-it-yourself, low tech approach, Shrigley uses text (some of it crossed out, even) to add meaning to his drawings.
The heroic (or relatively heroic) lives of Nedko Solakov form universes of little stories, anecdotes on occasion, that reflect contemporary life. These are funny stories with sad endings, like the downward curve that, in certain up-and-down lives, has its origin at birth and ends with death, summing up endless situations, thoughts, avatars, expectations, successes and failures.
Jesper Dalgaard creates schematic, personal mythologies based on short stories that explore such universal themes as love and fear.
Pauline Fondevila uses the immediacy of drawing to trace out mind maps, fragments, references and relationships that enable her to explain herself through others, to build her own personal self.
Francesc Ruiz also uses drawing to present maps of situations with references to the city and its subcultures.
José Antonio Hernández-Diez alludes to so-called “high” and “low” culture to draw a chaotic, delirious map of certain important landmarks in the history of classical and contemporary music.
Pierre Huyghe seeks to portray multiple aspects of human relationships whilst at the same time examining structures and systems. By investigating into the origin of ideas and stories and how these become part of the collective memory, Huyghe reflects on the nature of art and society and on the dynamics and structures that determine them.
Natividad Bermejo demonstrates the greatest technical mastery and skill in bringing out the qualities of the colour black from aesthetic, technical and conceptual standpoints. By magnifying details or insignificant elements, she leads us to reflect on what is extraordinary about the everyday, the real and the imagined, the objective and the subjective.
Employing a language as personal as it is imaginative, Zush draws us into his fascinating universe.