Sebasti谩n 骋辞谤诲铆苍: On a Day Like Today...
骋辞谤诲铆苍 hasn鈥檛 made paintings for at least three decades, and he isn鈥檛 now, either, strictly speaking. In his recent abstract compositions, not very common for him, however, he returns to the painting format with its most conspicuous attributes: mainly two-dimensional, mounted on stretchers and with perimeter framing. However, his starting point continues to be objects, as much as his first boxes from the early 1990s, which he expanded shortly afterwards into models, drawers with peepholes, showcases, sculptures and reduced-scale installations, that offer, in all these forms, concise scenes of extraordinary narratives that inspire the imagination of all those who see them.
A spin-off from a huge series of marquetry works that Sebasti谩n began creating in 2006, in which he recreates the covers of popular illustrated publications, also known as pulp magazines, specialized in fantasy (a genre that combines science fiction, horror and suspense), his current work benefits from his experience with the qualities and ways of working with wood veneers, such as enriching their chromatic variety with the use of dyes. This has been a long journey of technical experimentation for 骋辞谤诲铆苍 who enjoys finding ways to illustrate stories that obsess him but which, in this case, are presented not only as a medium but also as a generator of unexpected images. As he put it, the processes and tests carried out in this series created 鈥渢his abstraction machine,鈥� with gears designed, built, and set in motion by his own hands, benefiting from a dialectic between the properties of the materials, the capacities of the tools, the contingencies of the work and the contemplation of the constantly transforming results.
The works made with marquetry have characteristics in common with these new pieces, such as being set on a surface and with more chromatic range (having found new colors on a trip to Italy). Over time, 骋辞谤诲铆苍 began to make his own dyes, incorporating brighter ones, especially pink and magenta, never used by him before but central to this series.
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骋辞谤诲铆苍 hasn鈥檛 made paintings for at least three decades, and he isn鈥檛 now, either, strictly speaking. In his recent abstract compositions, not very common for him, however, he returns to the painting format with its most conspicuous attributes: mainly two-dimensional, mounted on stretchers and with perimeter framing. However, his starting point continues to be objects, as much as his first boxes from the early 1990s, which he expanded shortly afterwards into models, drawers with peepholes, showcases, sculptures and reduced-scale installations, that offer, in all these forms, concise scenes of extraordinary narratives that inspire the imagination of all those who see them.
A spin-off from a huge series of marquetry works that Sebasti谩n began creating in 2006, in which he recreates the covers of popular illustrated publications, also known as pulp magazines, specialized in fantasy (a genre that combines science fiction, horror and suspense), his current work benefits from his experience with the qualities and ways of working with wood veneers, such as enriching their chromatic variety with the use of dyes. This has been a long journey of technical experimentation for 骋辞谤诲铆苍 who enjoys finding ways to illustrate stories that obsess him but which, in this case, are presented not only as a medium but also as a generator of unexpected images. As he put it, the processes and tests carried out in this series created 鈥渢his abstraction machine,鈥� with gears designed, built, and set in motion by his own hands, benefiting from a dialectic between the properties of the materials, the capacities of the tools, the contingencies of the work and the contemplation of the constantly transforming results.
The works made with marquetry have characteristics in common with these new pieces, such as being set on a surface and with more chromatic range (having found new colors on a trip to Italy). Over time, 骋辞谤诲铆苍 began to make his own dyes, incorporating brighter ones, especially pink and magenta, never used by him before but central to this series.
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