Vitoria-Gasteiz 1955

  • His painting they are places, demonstrating not only the technical difficulties,
  • But the evocative effects that hoard the resolutions.
  • The light turns into a kind of constant pulse between the difference of his nature and the peculiarity of every matter,
  • Sifted of atmosphere, cross-lights or sparkles,
  • That propitiate motives where everything interferes.

Reality is what encourages any kind of reflection and interpretation. Taking it is just a matter of analyzing the relationship that exists between it and the degree to which it has to be articulated as a vehicle of expression. In this fact, there is, inexorably, a motive that underlies the contents that, when recreated, modify the universe of intentions.
In that reality, there is everything that is known and can be perceived, so that the personality when the real world is faithfully interpreted depends on the attention that the painter puts in the search for elements.
Aspects of the aforementioned, were and continue to be stones on which painting has been built throughout history that, far from estimating its influence on emotions exhausted, reality has corners that the painter discovers as an argument in parity with the universe of sensations.
In this line of work, we find the work of Carlos Marijuan, an author who knows well the meaning of these words, insofar as it has been that power of recreation, a commitment carried by him to the last consequences in his way of understanding the existence.
Where a simple door is a revealing icon of inner restlessness; where the chromatic play of light filtering through the foliage, makes an explicit statement of serenity.
Hence, the observer can find in each work semblances that the gaze knows and reason raises to a plane of poetic situation, while joy as an argument for expression beyond what is described does not go unnoticed.