ARTISTS
Armando Su谩rez: The Estate of Armando: No Identificado
The story of plain Armando, as he used to sign, is the one of a self-taught painter and an electrical engineer that was, however, connected to the art world through his brother鈥檚 gallery. A story so rare that gives us the opportunity to question the limits of the real and the fantastic, while revisiting the horizon of our recent art history.
From an early age Armando was diagnosed with what was then called persecution complex, due to his tendency to distort facts and events into suspicions. This condition developed later on into a psychotic episode of paranoid schizophrenia at the age of 28, which he himself attributed in his notes to a surgical procedure for an inguinal hernia. The beginning of 鈥渁 whole process of torture鈥� that would last the rest of his life.
Ignoring the recommendation of his psychiatrist, Armando sought refuge in art between the 1950s and late-90s, giving rise to an astounding body of work. A collection of landscapes that speaks to an unforeseen coalescence between peaceful provincial life in Asturias, the science fiction of UFOs, climate change, ecology, or the religious conditioning of a time that could not understand painting as a form of therapy.
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The story of plain Armando, as he used to sign, is the one of a self-taught painter and an electrical engineer that was, however, connected to the art world through his brother鈥檚 gallery. A story so rare that gives us the opportunity to question the limits of the real and the fantastic, while revisiting the horizon of our recent art history.
From an early age Armando was diagnosed with what was then called persecution complex, due to his tendency to distort facts and events into suspicions. This condition developed later on into a psychotic episode of paranoid schizophrenia at the age of 28, which he himself attributed in his notes to a surgical procedure for an inguinal hernia. The beginning of 鈥渁 whole process of torture鈥� that would last the rest of his life.
Ignoring the recommendation of his psychiatrist, Armando sought refuge in art between the 1950s and late-90s, giving rise to an astounding body of work. A collection of landscapes that speaks to an unforeseen coalescence between peaceful provincial life in Asturias, the science fiction of UFOs, climate change, ecology, or the religious conditioning of a time that could not understand painting as a form of therapy.
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