Imanol Marrodán

Imanol Marrodán - Untitled (E.L. Emotional Landscapes Series)

Artist Biography: Imanol Marrodán. Bilbao 1964, Basque Country. Interdisciplinary creator and researcher, he develops, among other activities, a critical work through various events related to art and contemporary thought as part of his personal creative project. The concept of limit, inspired by the idea of the ancient Roman "limes", cited by the philosopher Eugenio Trias as a metaphor for a civilized and rationally controlled knowledge, is the starting point of a concept of limit that is not understood as the end of something, but as a means for a new "beginning" of renewal, growth and evolution. It is the process of formation of an experience that shares a socio-political habitat in an industrial, materialistic, technological and artificial world, as opposed to a natural environment closely linked to the laws of the universe, which we hardly know, but which we continue to feel and intuit. As a conclusion and main priority, Imanol Marrodán's creative project seeks to highlight and bring to light the diverse uses, utilities and practical applications of contemporary creation as one of the essential driving forces behind the future of a social, political and economic community, contributing to determine, in a transversal manner, its changes and evolutions. He has exhibited in countries such as the United Kingdom, France, Germany, Portugal, Belgium, Korea, Argentina, Chile, Switzerland and the United States. His work has been shown in international contemporary art fairs such as ARCO, VALENCIA ART, ARTE SANTANDER and DFOTO (Spain), ART COLOGNE and KUNST KÖLN (Germany), KIAF (Seoul, Korea), ArteBA (Buenos Aires, Argentina), BALELATINA (Basel, Switzerland)... etc.... His work is widely represented in museums, public institutions and private collections.

Metallic lacquered painting with UVI varnish on aluminum sandwich panel with honeycomb core. Signed, titled and dated with permanent marker on the back. E.L. Emotional Landscapes: Emotional Landscapes. In this series I propose an even greater formal and representational reduction, with respect to my previous series of Coded Paintings. It is a step towards a dematerialization of the work. This image that we unconsciously re-present configures a series of sensations pre-established by our visual memory. The interesting thing about this is that the spectator himself who contemplates the object is configuring his own representative image of a landscape that is only in his subconscious. This gestalt game is deliberately provoked to question how the semiology of a visual language conditioned by our own limits of representation, often arbitrarily articulated, is constructed. It is a reflection on the ambiguous and indeterminate structure of languages to communicate human thought. A painting that goes beyond its formal limits to expand and dilute itself in its environment and the architecture that surrounds it. The ontological reason for these paintings, called "Nuclei of Emotion" or E.L (Emotional Landscapes), is determined by color and light, which are the essence of sensory communication and emotional transmission beyond any rational explanation. These objects are framed within the Zen aesthetic, inspired by the hexagrams of the I Ching or Book of Mutations, and are a reference to the Taoist universe and Eastern thought and culture.