Calm - Engravings
“Engraving and ceramics share a certain spirit. The two disciplines are based on imprints and indirect work. You proceed in stages in a long, complex sequence, mediated by technology: the press for the engraver and the kiln for the ceramicist. Both record light in a certain way, one on paper and the other on earth, because in the end ceramics are cooled incandescence, and the ink on an engraving retains the reflection of light on paper".
“Als vençuts left me totally empty. I stayed away from ceramics, as visitors to the monument stay away from the piece, unable to touch it. I dedicated myself to what I had left, my sight, to print it on metal and on paper.”
“Just as the ceramicist applies glazes that change color completely in the kiln, the engraver has to imagine shapes in reverse and the values of the scale of tones. Both deal to a certain degree with chance, with surprise: the ceramicist, on opening the kiln; the engraver, on lifting the paper from the press.”
“I made the first few series in the studio of the engraver Sebi Subirós. Afterwards, and headed towards the large format, it was more practical to install a press in my studio and make the editions there, reduced to proofs and a single print.”
“I was interested, as in the series Cercles, in repetition, in variations, typical of engraving, and in recovering the image of the natural, as in the toned-down atmosphere of old etchings made with a burin (nostalgia for the passage of time?), in which the text and the illustrations of a book share the same physical space, in a way like Chinese ideograms, which are simultaneously calligraphy and painting.”
“The series La calma was developed over a span of two years, finally resulting in two triptychs and one diptych. The triptychs of Miró and Rothko accompanied me.”