Ritz-Carlton, NYC

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“Whale Garden”, wall version.

Whale Garden, 2014 Oil on linen, six panels 80x145 inches

Whale Garden, 2014
Oil on linen, six panels
80×145 inches

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Gardens

Gardens

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New 18×24″

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about “Mantos”

 
“… The same thing happens with the coats (Mantos) paintings that he has stripped from the heavy stretcher that reinforced them as objects, turning the cloth that hid them into an extension of the painted surface, with visible traces of the work. Murado describes and discusses the process: “This is the first ida y vuelta influence of the craft of making furniture towards my paintings, and it is arrived at precisely by withdrawing from them that which is most furniture-like: the stretcher… We could say that, structurally, a painting is an upholstered wooden furnishing that is painted on.” After the synthesis, he goes on: “Several things happened when the stretcher was removed. First, the edges of the fabric that surround the structure and do not belong to the painting came to the fore, revealing what happened during the execution of the work. Another thing was that, by hanging them a few inches from the wall, they moved slightly as draperies or tapestries, showing the nature of the fabric from which they are made; in this case a thick, very heavy, Belgian linen. They showed themselves as art objects and not just as vehicles. They also became able to adapt to any incidence and obstacle on the wall, they were more adaptable and more independent from their environment: not touching the wall or the ground grants them a mystical nature to which I am almost addicted. In addition, when linen is free from the stretcher, it registers changes in humidity and moves with air currents, coming to life.” It is the temptation of bringing paining to life, of showing that it breathes. The truth is that, when still, their appearance resembles Baroque Galician altarpieces, with shapes and weights that boldly advance towards the viewer. Not being anchored to the ground, however, they acquire a sense of lightness and mystery, a kind of restlessness.”

Miguel Fernández-Cid, 2014

Extract from the text for the upcoming catalog of the CENTRAD exhibition  in Lugo,Spain.
Translation: Sara Murado Arias
 

 

 

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Small Landscape

Oil on linen  24/18"

Oil on linen 24/18″

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Stepping stones

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New paintings in progress

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The Bath

"...he walked down through the garden and descend all the way to the lake, where he comfortably undress in a dilapidated bathing shack whose cracked boards admitted the sunlight, then he threw himself into the water. He swam far out ,he was in such good spirits. What swimming person, provided he is not about to drown can help being in excellent spirits? It appeared to him as if the calm, warm smooth surface of the lake were taking on a curved, vaulted shape.The water was simultaneously cool and tepid. Perhaps a faint breath of wind came whispering across it, or else a bird flew past above his head , hight up in the air."

“…he walked down through the garden and descend all the way to the lake, where he comfortably undress in a dilapidated bathing shack whose cracked boards admitted the sunlight, then he threw himself into the water. He swam far out ,he was in such good spirits. What swimming person, provided he is not about to drown can help being in excellent spirits? It appeared to him as if the calm, warm smooth surface of the lake were taking on a curved, vaulted shape.The water was simultaneously cool and tepid. Perhaps a faint breath of wind came whispering across it, or else a bird flew past above his head , hight up in the air.”

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Psaltery table

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I’m building this table based on a Chinese psaltery table that I saw in the Metropolitan Museum.

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Installation shot at VLG,LA

 

"Land(#10)" ,2013 Oil on linen. 5fx6f8in

“Land(#10)” ,2013
Oil on linen. 5fx6f8in

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