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Miquel Barceló (1957)

Peinture pariétale sur toile

235 x 285 x 26 cm
Mixed media on canvas
Collection Fundació Sorigué
© André Morin, 2015

Leer Transcripción

References to prehistoric art, to its peculiar schematism, symbolic character and abstract power, are evident in works of this type. Barceló, who often likes to draw with charcoal, has drawn on his knowledge of rock art to depict a bulky animal on a canvas that has been expressly deformed in order to evoke a fragment of cave wall. The style applied to this type of painting is seemingly removed from the norms that have been dictated by the history of Western art. Images such as these stimulate a paradoxical interplay: by observing a depiction of something that may be extremely old, you have the sensation that you are observing something modern, and therefore new.  


Works of this type, depicting archetypal creatures, express the artist’s interest in animism, the philosophical tendency which holds that it is possible to stimulate natural phenomena and bestows natural objects with an invisible guiding spirit. Barceló, being very familiar with the ancient artistic techniques that were used tens of thousands of years ago in the caves of Altamira and Chauvet, was invited to form part of the scientific committee for the latter, which houses the oldest collection of rock art in the world. 


At Chauvet we have to view the entire cave as a painting, even when there is nothing, because although there is nothing, here there is a bison: you have not seen it, but it is here and the artist saw it. It seemed to me that it was not necessary to underline it because it is already here, don’t you agree? The fact that you haven’t seen it doesn’t mean that it is not there (…).  


In Malaga there is an amazing cave, called Cueva de la Pileta: almost the entire cave except for small… it’s almost empty, it’s very pretty… and at the back, at the back, in the last room, there’s a fish, like a large salmon… right at the back, you know? Of course, but the rest of the cave is also a painting, you see? Because it’s the preparation for reaching this large salmon.