Francisco G. Pinz贸n Samper: By Vital Means: Songs In The Key Of Spirulina
A self-confessed anti-painter who paints, Francisco strives to achieve a certain level of visual vibration and is attuned to anything that might interrupt that. When they choose which substrates to work with, they pointedly avoid canvas - pulled tightly over wooden stretchers, canvas becomes a trampoline, bouncing under pressure, asserting its texture, necessitating bulky corner folds that interrupt any possibility of trance. Trusting the substrate to facilitate colour play - to hold colour as it bleeds, blurs, blushes, delineates, gestures and saturates - the image can maintain a degree of casual autonomy. Painted or taped edges and wooden blocks project paintings from the wall, creating distance and suspense. In the work on show in Glasgow, Francisco's preference is for works on cardboard, paper and aluminium, or on the base of upturned cookie tins. Modest and stoic, hard, smooth surfaces are patient and can be believed.
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A self-confessed anti-painter who paints, Francisco strives to achieve a certain level of visual vibration and is attuned to anything that might interrupt that. When they choose which substrates to work with, they pointedly avoid canvas - pulled tightly over wooden stretchers, canvas becomes a trampoline, bouncing under pressure, asserting its texture, necessitating bulky corner folds that interrupt any possibility of trance. Trusting the substrate to facilitate colour play - to hold colour as it bleeds, blurs, blushes, delineates, gestures and saturates - the image can maintain a degree of casual autonomy. Painted or taped edges and wooden blocks project paintings from the wall, creating distance and suspense. In the work on show in Glasgow, Francisco's preference is for works on cardboard, paper and aluminium, or on the base of upturned cookie tins. Modest and stoic, hard, smooth surfaces are patient and can be believed.
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