Photo of jose luis zambrano
jose luis zambrano
Spain

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Biography

Born in San Sebastian in 1958, studied art at the School of Arts and Crafts in Manchester although it is considered self.

He currently resides in Manchester

Critics Diario Sur (Málaga) solo exhibition "IMAGO" in the room Unicaja

The recent work of José Luis Zambrano (San Sebastián, 1958), a clear affiliation rules, is based on two important contributions, one theoretical and one from the historical avant-garde. The substrate is mainly related...
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0.79 x 2.76 in
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0.79 x 2.76 in
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2.76 x 7.09 in
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2.76 x 7.09 in
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1.97 x 7.09 in
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1.97 x 7.09 in
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3.94 x 8.66 in
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3.94 x 8.66 in
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3.94 x 8.66 in
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Photo of jose luis zambrano
jose luis zambrano
Spain

Born in San Sebastian in 1958, studied art at the School of Arts and Crafts in Manchester although it is considered self.

He currently resides in Manchester

Critics Diario Sur (Málaga) solo exhibition "IMAGO" in the room Unicaja

The recent work of José Luis Zambrano (San Sebastián, 1958), a clear affiliation rules, is based on two important contributions, one theoretical and one from the historical avant-garde. The substrate is mainly related theoretical Konrad Fiedler, the father of the formalist tendency in historiography and theory of art, who, in one of his most brilliant essays, "On the trial of the works of plastic art, "1876, states that" the interest in art began in the time off interest in the ideal content of the work. " Art can not find another way than his, that is, the work of art as an autonomous body, oblivious to any reality other than their own language. The art form, then, to put it in Kantian terms, is how the spirit, the expression of the subject. The pioneering contribution is that of Malevich's Suprematism, ie the absolute supremacy of pure plastic sensibility. Hence the distortion and obstruction of the external world of figurative references and forms of nature, the contingency of historical evolution. For Malevich space exists only on the plane and pure geometric form, without external contamination. These are the supports on which José Luis Zambrano constructs his poetic minimalist and essential. Whether in its elegant and sober pastel on paper, either in his oils on paper also, the compositions are based around geometric shapes such as trapezoid, polygon, hexagon and triangle. The total geometry is in turn traversed by straight bands that break down into many shapes such as the aforementioned, perhaps the only reference on a few songs to the baseboards and tiles Nazari. Work clean and neutral, but in which, however, as we approached, we observe the beat of the stroke on paper that trace the anthropological as a painter José Luis Zambrano does not quite come off. The sky, gray and brown spread in uniform layers in flat areas of color, while retaining a distant echo of his brush on paper, its extension on the surface. Random images of orthogonal street layout, these parts are also exquisite color harmonies, organized on the basis of small changes in pitch. In short, a work consistent with the aesthetic principles of pure visibility.   © Henry Brown Ales Originally published in the newspaper Southern Malaga June 17, 2005 000066 ">  

 

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