21 February 2018, Pepino
I don't believe in inspiration except when I don't have it. However, I'm professional and keep on working even without the help from the muses though I feel like a mortal person and not a genius.
In Greek thought, inspiration meant that the artist would go into ecstasy or furor poeticus, the divine frenzy or poetic madness. That state would be too much for my daily middle class life. Inspired or not, I have to cook for the kids, help them in homework, drive them to activities and wash their clothes.
CAPITALIST COLOR THEORY
08 February 2018, Pepino
It's an unusual exhibition week, on Thursday morning I'm still at home. Normally, gallery shows open on Thursdays and I travel on Sunday or Monday.
Capitalist Color Theory at Galería Kernel will be inaugurated on Friday (9pm, possible only in Spain). One of the paintings isn't totally dry so I wanted to delay the transport as long as possible. I'm waiting for Julián and Maria to arrive with the van and then load the works and travel with them to Cáceres.
I've been working with the stuff until the last moment, yesterday I was buying in supermarkets products that have colors as word on the labels: black chocolate, white bread, red tea, orange juice, yellow ají, green pepper sauce, blue fabric softener and violet liquor. It's a supermarket color wheel of capitalist color theory.
31 January 2018, Pepino
Spinoza wrote about the post-coital tristesse that as far as sensual pleasure is concerned, the mind is so caught up in it, as if at peace in a good, that it is quite prevented from thinking of anything else. But after the enjoyment of sensual pleasure is past, the greatest sadness follows. If this does not completely engross, still it thoroughly confuses and dulls the mind.
Painting three big works lickety-split in less than three weeks has been as intense as having a Viagra boosted orgy. Making these color splash abstractions is physical work and splattering paint is like ejaculating. Now I feel empty.
We transport the works to Galería Kernel, Cáceres, just the day before the opening to have them as dry as possible. I have a week left without any plans. Should I begin something new or just to watch the enamel paint dry?
THE VORTEX OF REALISM
19 January 2018, Pepino
Dora, a university student of history of art, is writing an essay about my work. She interviewed me on Skype and asked what Turborealism means.
Realism is simple, it's representation of reality as it is. No dreams, no fantasy, no utopia.
For the word turbo I needed a dictionary. In Latin, it means tornado, whirlwind, violent windstorm. A chaotic vortex. In Spanish, turbo is the first person singular of the verb turbar, which means to confuse or to disturb. Same in Italian but the meaning of turbare can be also to trouble.
Turborealism is depicting the violent and troubled reality of the world where we live as it is in a disturbing manner.
12 January 2018, Pepino
Here I stand
In the light of day
Let the storm rage on
The cold never bothered me anyway!
The central Spain - where I live - has a horrible climate. The summers are scorching and the winters freezing. My house is comfortably heated and during the coldest months I work at home drawing small works. I have to abandon the badly isolated studio in November and go back to painting large scale works in March. During summers I paint in trunks but I don't whine for the heat.
As a rule, I'm good in planning my work schedules but this week Julián phoned and asked to make my show at Galería Kernel, Cáceres, earlier. I like challenges and gave green light to the change, the opening is in four weeks, the ninth of February. Now I need three new big works.
I'm excited about the exhibition but I have to paint Capitalist Color Theory with four layers of clothes and a knit cap. The worst thing are the numbing fingers because I can't use brushes with gloves. The positive thing is that Kernel´s program consists of abstract art - it will be the first time that my stuff is presented in that kind of context - and I'm doing splotch paintings. Gestural abstraction is not easier than figurative but at least it doesn't require detailed work in difficult positions for hours. I drip paint and then watch carefully when it dries.
If Picasso painted Les Demoiselles d'Avignon in an ice-cold studio in Montmartre, why can't I paint master pieces in January in Cervera de los Montes?