Bernardí Roig

Bernardí Roig - Satin drawings #.215

Technique: India ink on watercolor paper

Artist Biography: Bernardí Roig is a Spanish visual artist born in Palma de Mallorca in 1965. He is known for his multidisciplinary work that encompasses sculpture, photography, video, installation and drawing. His works tend to have a conceptual approach and his work is characterized by the exploration of themes such as identity, death, memory and perception.Bernardí Roig has exhibited in numerous galleries and museums in Spain and abroad, and has participated in international contemporary art biennials. His work can be found in major museum collections and private collections around the world.Among his most outstanding works are the series "Blackout", "Selfportrait", "Light and Matter" and "The Shadow of the Monster". His sculptures and human figures wrapped in bandages or covered in plastic have become a hallmark of his artistic style.

 

This new exhibition by Bernardí Roig (Palma, 1965) at the Gallery Max Estrella is an attempt to alleviate the soot overload on the walls, saturated with images in which there is nothing to see. But not only the images are tired, the eye is exhausted and the walls are exhausted. Even the light no longer comes from the ceiling to illuminate and guarantee the scene, it is now at ground level, it is no longer affirmative.Chimney sweeping the walls is, among other things, an exhibition of drawings on the floors in which the walls, once chimney swept, only serve to be scratched or penetrated. The gallery space becomes a void saturated with white that speaks to us of the fatigue of the iris, and the visual sclerosis produced by the transparency of this technological present without shadows, amnesic and crushed by an excess of reality. The walls are more beautiful when there is nothing on them, only white on white.721 drawings in the open, urgent, drawn with black ink, some with splashes of color that defy the inflationism of the unrepresentable. They emerge from immediacy, without retouching or corrections. Images of generous bodies, joyful and overflowing with carnality accumulate and spread across the equines. Some drawings build the "mountain of the rejected", others delimit the "zone of the admitted", although they could be perfectly interchangeable. They are all full of time. The drawing is the only tool to rely on because it corners, instantly, the idea that is on the run.