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Antonio Murado - Untitled
Artist Biography: Lugo, 1964 With a degree in Fine Arts from the University of Salamanca, he captured the attention of the national art sector from an early age, taking centre stage in various competitions and exhibitions. In 1995 he was awarded the Unión Fenosa · MACUF enjoying a stay in New York, the city where he will settle permanently. Considered by specialized critics as one of the Spanish painters with the greatest international projection, his artistic project has been the subject of numerous solo exhibitions in institutions in countries such as Germany, Canada and the USA. Likewise, relevant international collections have echoed his plastic creation, including the Philip Morris Collection, the American Express Collection —both in New York—, or the La Caixa Collection of Contemporary Art, in Barcelona.
On the one hand Murado introduces the concept of Byzantine icon, on the other hand he rescues the boot series, started in the 90's, which is one of the best known series in his extensive career. These are small slabs of about 35 cm in height, inside of which are arranged stalks and flowers in reserves. The idea of icon comes precisely from their small size and the arrangement of the flowers and the place they occupy in space. Their small size makes them ideal for transporting them from one place to another with ease. These small "devotional tables" presented by Murado change the religious figure typical of the icon for large flowers or flowers inside, arranged in a white reserve, variable in proportions. This theme takes us directly to the 1990's, when Murado, guided by his desire for technical experimentation, began to experiment with boot iconography. Although it is not the theme itself that really interests the artist, but the technique itself and the behavior of the materials used. Murado uses here the blowing technique, a formula he arrived at almost by chance, experimenting with the density of the oil and blowing in only one direction. The result is what we see here, forms that remind us of petals that seem to float on semitransparent backgrounds, creating a painting where, as he has pointed out on occasion, "everything is abstract and figurative at the same time".
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