ARTE ÚLTIMO 21 DÍAS. LONJA DEL PESCADO DE ALICANTE 2014

With an already consolidated career in which the gesture, the action of intervention in space, has sought verticality and the parallelism of geometry from the small format of the canvas to the large dimension of the urban mural, Ferran Gisbert, in this exhibition entitled Verbo, vindicates the sense of action as the main component of language, he poses a qualitative leap for us, he proposes a qualitative leap. The challenge of occupying room C of the Lonja del pescado, whose dimensions exceed those of a normal gallery, leads him to resolve with great precision three large mural interventions, one of them 4 x 12 metres wide, in which the tool used, constructed with multiple brushes, draws in a single gesture, controlled, harmonious, a trace that transcends the echoes of the great expressionist painting of which the artist, whose main reference is Morris Louis and his geometry of liquid fluids.

In Ferran, the displacement of the multiple brush determines an action that reflects the artist's own movement in his mastery of the architectural dimension, with a continuous gesture that draws the space. An important physical action that implies a great mastery of technique to obtain a line with an enveloping and multi-directional discourse. A painting that involves a limited tempo due to the materialisation of the action, but in which the important thing is the fact of constructing a great drawing, where the vision and the concept of the form assumed by the artist is explained. This is not simply a mechanical mastery but also the ability to make visible aspects in which the vision of art is immersed. To this end, he takes up the action of direct painting, ranging from the expressionism of Georges Mathieu, in which the fundamental aspect of his work is the visualisation of his action, to the ephemeral murals of Sol LeWitt, which are based on a geometric construction that invades the walls.

Ferran also constructs an ephemeral work. The action is the work, in which the space, the body itself in dialogue with the space, in that physical prolongation that is the extension of the painting, constructs the drawing and the formal conclusion.

Eduardo Lastres and Guillermina Perale