Amarillo, negro y tres verdes

Carlos Maciá Kaplan Gallery
May 2024

For the new Kaplan Projects’ space, I present a proposal focused on my new series AL . Projects based on a will to continue with my previous work, that try to radicalize and highlight some of the obsessions that run through my work. As a starting point, I have focused specifically on my pictorial interventions of a more geometric nature, where the line is an element that invades and engulfs the architectural space. Now, I convert those two-dimensional lines into three-dimensional volumes, trying to give them autonomy. Moreover, the new series is linked to the previous series Makers. Although in this one I generated solid volumes, now AL refers exclusively to the contour or perimeter of that one.

Drawing is for me an extension of the field of ideas. In some way it orders them and gives meaning to them. But I do not think it is a one-way issue, but rather a round trip. This series is presented to us as a drawing. I use long aluminium plates as a line, which I bend and fold generating structures that surround me and expand through space. I do not use any sketches and, in consequence, I don’t make projections. I am always attentive to accidental irruptions. The folding actions become irreparable and, therefore, definite drawings. As a result, we find ourselves in front of a kind of choreography, sometimes violent, that adds actions resulting from my strength, weight, size or mood.

The pieces were born with the desire to be closed loops. Now, as a result of some accidental breakage and welding, I present linear pieces without any beginning or end. These skeletons emerged from the floor, were later hung on the wall, and have now been suspended from the ceiling. In this last disposal, movement appears as a transcendent condition. The pieces rotate depending on their weight and shape thanks to air currents. This is a new element in my work and I honestly hesitate whether to adapt myself or surrender to it.

The painting process is carried out using a polyester powder paint, which is electrostatically charged and projected using a gun to be deposited homogeneously, and almost magically, over the entire surface. Next, the pieces are placed in an oven at around 200℃, which produces the polymerization of the paint. The incorporation of these industrial processes into my artistic practice is one of the constants of my work. It is therefore a game of opposites between materials, processes and finishes. We start from the perfection of the virgin aluminium plate, continuing with the tension and mark of the bending, and we end with a complex and neat pictorial process. This conjunction of contrasts is frequent in my work and specifically key in this series.

Perhaps this is the series formally furthest from painting. This situation triggers certain mixed feelings in me, since on the one hand, that distance makes me uncomfortable, while on the other hand, I am aware that work sometimes needs its time and space. The processes can lead to something that you previously did not expect, and we must pay attention to it. The formal presence of the structures is imposing, so the challenge of the series is to give these skeletons a pictorial connotation. In conclusion, to try to provide them with a skin .

Purposely for this exhibition, I have made a 1:1 scale replica of the exhibition space in my workshop. I have largely respected the arrangement of the pieces in the workplace, their original height or the distance between them, for example. For this reason, I present some of them perhaps more grouped than required, and others are not. I am increasingly aware that every night when I close the studio the pieces come to life and they interact with each other. As a result of this revelation, and the strangeness it produces in me, this exhibition arises.

Carlos Maciá


[1] Abbreviation of the chemical symbol aluminium.

[2] <<Regarding the surface, is it accurate that you have written or said the following: The deepest thing in man is the skin?
—It is true.
—What did you mean by that?
—It is very simple… One day, feeling irritated by those words deep and depth…>>.
Paul Valery. The Fixed Idea. Ed. Visor. Madrid, 1988, p.40.