Geografía de la memoria_PEDRO MUIÑO 11/03/2022
METRO is hosting Pedro Muiño´s third exhibition at this gallery. An exhibition that marks the beginning of another stage in his long career. From his first exhibitions in the seventies, with surrealist connotations, with a figuration based on Renaissance classicism and impregnated with an Atlantist spirit, to the present, more ethereal and conceptual, he has gone through different stages that have marked his recognition as an artist.
From 1990 to the mid-2000s, his works deal with open spaces inhabited by symbolic forms that endow his compositions with lyricism. The surfaces are filled with texture and the colours intensify, with indigo, orange and yellow predominating, along with white and ochre. However, as the 2000s progressed, his works began to be tinged with intense black, combined with greys, browns and small dots of red, orange or white. Sobriety, geometry and light become the protagonists. Even in his apparently more abstract compositions, such as the present ones, figuration is somehow present, but transformed into a series of icons that evolve over time. The drawing continues in the form of lines that cross the space. Colour, the foundation of his work, is used selectively and conceptually.
In recent times, and after a series of personal circumstances (change of house, change of studio, pandemic...) which forced him to slow down the performance of his work, he found himself incorporating or resuming colour. He gradually abandoned the use of blacks, greys, browns... and also the sobriety of all those long series which he generically called "Opus nigrum", in order to delve once again into the vibrant use of colour.
Warm colours, yellows, oranges, ochres... colours that dominated my previous works for a long time, reappeared. These warm colours reappeared and took over the surfaces to the detriment of the premise of austerity that prevailed in all the work of the "Opus nigrum". In this way, testing and rejecting, I arrived at the use of a specific colour that prefixes in a certain way the series I am currently working on, a specific colour that commands the surface and contributes to defining the character of the work.
The conceptual content of this new series maintains the same precepts as all the previous work. The evolution in the work process generates the painting itself, there is no a priori approach, the execution demands the actions he considers appropriate to obtain the desired result. He recovers the use of oil, the use of certain textures and sgraffito in the drawing. The lines, the surfaces, continue to maintain a certain cleanliness, although far removed from the asepsis of the black works, so flat and without appreciable texture. The use of controlled gesture also disappears to a certain extent in favour of a more defined iconography, introducing elements that contribute to a certain extent to baroque the work. The iconography changes, although it incorporates elements that can be seen in previous works, but they follow the same premises, they are not identifiable with something visually recognisable.
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