How are planes articulated in a composition when their dimensions are complicated by asymmetrical shapes, angles, and details? This question permeates the work of Ángel Farías (1999), whose visual narratives, full of symbols and allegories, engage with the pictorial tradition of Hieronymus Bosch and his use of intersecting planes. Influenced by art history, Farías reinterprets classical iconographies such as reclining Venuses and cherubs, constructing his own universe where references converge with diverse fictional narratives.
Her practice explores gestures, postures, and aesthetics that endow her characters with a recognizable visual language: red dots under their eyes, long eyelashes, full lips, and the distinctive gleam of their pupils. These figures inhabit richly detailed compositions, surrounded by landscapes, animals, and objects laden with meaning, revealing layers of interpretation in each scene. In this exhibition, two material languages converse: wrought iron and watercolor drawing, populating the wall with characters that evoke myths and fantastical tales.
“Anvil and Pen” begins with ink and watercolor drawings whose narratives emerge from folklore, personal episodes, and everyday inspirations. Fantastic beings, fairies, letters, and tools like the hammer and anvil appear in them, alluding to the work of its characters.
The materiality of the paper and the fluidity of the watercolor contribute to the expressiveness of these compositions, generating ethereal and dreamlike atmospheres. The technical variety that Farías employs not only amplifies the visual impact of his work, but also reinforces the multiple possible interpretations within each piece.
A series of portraits delves into the relationship between food and identity, influenced by Farías's experience as a baker. In these works, the subjects hold food in their mouths, on their heads, or around themselves, blurring the boundaries between the physical and the symbolic. Each element seems to be an extension of thought, a materialization of ideas that float around the portrayed individuals. The connection between food and memory is also evident, evoking sensory and emotional experiences that link the artist to his daily work.
At the bottom of the wall, a self-portrait of the artist shows him holding a notebook with a drawing of his father, accompanied by a hen, a pencil, an anvil, and the initial of his name. This composition, laden with personal elements, encapsulates his quest for self-representation. The metaphor of the notebook within the portrait reinforces the idea of creation as a continuous process where memory
and identity converge in a shared symbolic space.
On the other hand, a series of iron sculptures translates the characteristic gestures of his characters into three-dimensional form. These pieces, embedded in the wall, extend the artist's material exploration and establish a dialogue with the drawings on paper. The sculptures, with their solid and tangible presence, create a counterpoint to the lightness of the watercolor, emphasizing the interplay of contrasts that defines the exhibition. The strength of the iron, in opposition to the softness of the paper, underscores the duality that runs through Farías's practice: delicacy and resistance.
Thus, the first Landscape exhibition in 2025 addresses the diverse materials that permeate Farías's work. His verdant landscapes, enigmatic figures, and artistic references coexist in a complex composition, where each element intertwines in a vibrant and organic harmony. Through free drawing and material experimentation, Farías constructs a universe full of life, fueled by curiosity and...
Precision in the limits of each material. The exhibition thus becomes an invitation to delve into a world of symbols and narratives that celebrate the movement of possible stagings.
