Park Royal Pattern no. 3, 2021

• Title: Park Royal Pattern no. 3, 2021

• Link to the full project: View the complete Park Royal Patterns project

• Description:

  • Price: €2,600.00 (INCLUDES 21% VAT and custom wooden crate)

  • Year: 2021

  • Medium: Graphite pencil, watercolor, and acrylic on linen.

  • Dimensions: 59'5 x 42 x 3'5 cm

  • Support: Premium Belgian linen stretched on a wooden chassis.

  • Presentation: Shipped in a custom-built museum-quality wooden crate (included in the price) to ensure absolute protection during transit. Includes a certificate of authenticity signed by the artist.

Project Statement: Park Royal Patterns (2018–2020)

• Project title: Park Royal Patterns

• Date: 2018–2020

• Materials: Graphite pencil, watercolor, and acrylic on linen.

• Dimensions: Variable

This series of paintings is formally linked to the preceding project, titled Pintura encubierta: habitar el entorno dentro y fuera del cuadro (Covert painting: inhabiting the environment inside and outside the painting), where a rectangular black spray-painted shape appears to shift from one canvas to another. While that specific form emerged from the literal contact between cotton canvases and the storage crates of other paintings in a warehouse located in Park Royal, West London, the present series, Park Royal Patterns, focuses attention on the subjective perception of the industrial environment where it was carried out.

The utilitarian activity of this industrial estate—such as the machinery rolling over the asphalt, leaving traces in the form of dark stains or chemical odors—reverberates in the shapes that find their space within this series of paintings.

The materialization of these paintings begins with the measurement and tracing of two horizontal lines using a graphite pencil—one a few centimeters from the top margin and another at the same distance from the bottom margin. This is followed by staining the space between these lines with watercolor to create a subtle veil. Over this wash, a series of actions is performed, consisting of masking parts of the painting's surface with tape in order to apply black acrylic paint over the exposed areas. The tape is then carelessly removed while the paint is still wet, with the deliberate aim of provoking uncontrolled pictorial marks.

Thus, we find, on one hand, the nexus between a careful selection of high-quality materials—such as Belgian linen, graphite pencil, watercolor, and acrylic paint organized across the surface of the works. On the other hand, the meticulous layout of the masking tape—preceded by the measurement and division of the surface through simple mathematical operations, such as the use of axes of symmetry—contrasts with the raw application of paint. This process is ultimately articulated by stripping away the masking tape while laden with wet paint. These actions constitute the performativity of a project where shapes are arranged on the canvas surface with the expectation of discovering one or more pictorial resources to tackle the subsequent painting.

Finally, two types of displacement occur: one spatial and the other conceptual. The first belongs to the interaction and visual movement—in the Gestalt sense—of the shapes present in each painting. The second concerns the visual resources that transition from one canvas to the next, provoking and conveying—as the best possible outcome, and within the perception of those observing the paintings in person—ideas, emotions, and variations across the pictorial surface.