Luis Moro: The Roar of the Earth
El bramido de la Tierra [The Roar of the Earth] is a solo exhibition by visual artist Luis Moro (Segovia, 1969), conceived for MUSAC and curated by Fernando Castro Fl贸rez. The exhibition presents large-format paintings alongside drawings and process-based materials. If in some of his actions Luis Moro has literally sent out an 鈥淪.O.S.鈥� message, he now unveils an extraordinary 鈥渇auna鈥� that calls for a less aggressive attitude towards the world we share. What must be 鈥渟aved鈥� is the soul of the world, that creature which Moro links to the anima.
To a great extent, his works seek to reveal the relentless process of metamorphosis in life, with the butterfly taking on an almost totemic presence. Its wings, drawn with a certain reminiscence of D眉rer鈥檚 naturalistic depictions, attempt to lift us up in a globally depressive moment. Perhaps delving into archetypes, the artist reinterprets the foundational myth of painting as the drawing of shadows and the anticipation of sorrow at the loss of a loved one, while continuing to energise his imagination to craft hopeful symbolism in an unhinged era.
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El bramido de la Tierra [The Roar of the Earth] is a solo exhibition by visual artist Luis Moro (Segovia, 1969), conceived for MUSAC and curated by Fernando Castro Fl贸rez. The exhibition presents large-format paintings alongside drawings and process-based materials. If in some of his actions Luis Moro has literally sent out an 鈥淪.O.S.鈥� message, he now unveils an extraordinary 鈥渇auna鈥� that calls for a less aggressive attitude towards the world we share. What must be 鈥渟aved鈥� is the soul of the world, that creature which Moro links to the anima.
To a great extent, his works seek to reveal the relentless process of metamorphosis in life, with the butterfly taking on an almost totemic presence. Its wings, drawn with a certain reminiscence of D眉rer鈥檚 naturalistic depictions, attempt to lift us up in a globally depressive moment. Perhaps delving into archetypes, the artist reinterprets the foundational myth of painting as the drawing of shadows and the anticipation of sorrow at the loss of a loved one, while continuing to energise his imagination to craft hopeful symbolism in an unhinged era.
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MUSAC presents its programme for 2025, which includes a major exhibition of Yoko Ono鈥檚 work under the title Insound and Instructure starting in November, as well as the first show in Spain by Studio DRIFT form June 14.
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