page-template-default,page,page-id-8227,ajax_fade,page_not_loaded,smooth_scroll,,wpb-js-composer js-comp-ver-4.12,vc_responsive



In one of his texts, Ciria talked about how letting the hand wander freely (holding a pencil or piece of charcoal) is a generator of abstract drawings. In a work on paper from 2000, that free wandering capriciously chose to make the silhouette of a head. “The only thing I needed to add were a few small corrections and some red paint.” In Rorschach Heads I (2000-2005), there were representations of heads occurring at the same time the artist kept working on his abstract series. The formal relationship with Masks of the Glance is evident, but the stain is interrupted, and after nine years of investigating only between the geometrical and the gestural, the contours of the drawing are made visible.

The title of the series refers to the Rorschach stain psychoanalytical test for exploring the subconscious and studying a determined personality of a patient through the subjective interpretation of the drawings. In short, it is a projective test of the being. Ciria’s intention in the paintings from the Rorschach Heads series is precisely that the viewer can project or empty a subjective meaning onto the compositions.

The figures from the first cycle do not display any clear physiognomy but only silhouettes that demarcate the head, neck and shoulders. However, the violence of the reds, textures and contrasts can, through the absence of forms (nose, eyes, lips…), make the viewer find an emergence of dramatic meaning and emotion enclosed within the various positions of the heads within the compositional plane exposed to the gaze and the mind.