projecte L (L project)

Interventions in the Artiga space and in the locations of Banyoles and surroundings (Pla de l’Estany), and workshop pieces based on these works on landscape. Exhibition of final results with transfer of parts of the reality worked physically to the room.

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Project L was, in fact, an umbrella for some thirteen smaller projects that were worked on exhaustively over the course of a year. The initial wish was to celebrate my 50th birthday with artistic action. In this period when I was this age (from 50 to 51 years old) I poured myself into a series of pieces that wanted to close a series of debts with the past. In some cases, ideas he had not found the time or possibility to realize; in others, proposals that until then had not been considered sufficiently mature; finally, new contributions for the occasion. I gave myself this possibility, and the fact of being able to work outside, in different spaces around Banyoles. Observing and monitoring these places during the previous two years provided me with the final part of the work, which in part collected the accumulated knowledge. In this sense, the pieces The Fallen Tree and 50L are clear examples. In the first piece, the observation and conservation for two years of a dead plum tree and the final installation in the room, in the same position as in the open air, rehearse with minimal manipulation and seek the maintenance of the 'initial spirit throughout the process. The 50L piece plays with a double reading: on the one hand, the annual cycle of natural renewal of the subject and the active participation from agricultural or forestry tasks; and on the other, the sculptural work with reality from a volume of 50 liters, working on the emptiness and mobility of the generated matter.

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The work Lluminosa walks an L-shaped light sculpture (50 in Roman numerals) through the night landscapes, where it would normally circulate during the day. There is a reflection on loneliness through the years and the chosen artistic path. Other pieces incorporate personal and family elements (the blacksmith’s anvil in Picar L freda) to talk about the impossibility of connecting between distant times beyond doing so with memory. In all these projects, I work on parallel texts, of a poetic nature, which aim to place the viewer in the theme or problem raised, in a complementary way. This is the first time I have used this way of doing things, and I consider that, in this case, writing has a more plastic than literary meaning.