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ABSTRACT MEMORY (2009 – 2011)

After five years working in other kinds of pictorial investigation subject to the structure of the drawing, Ciria decided to return to gestural abstraction. And to do so, he went back to the abandoned vocabulary of the Masks of the Glance series. The artist once again began to unabashedly combine the two models of modernist abstract painting on the same plane, but the surprise came in that the centrality of the geometric elements had grown exponentially. If in Masks of the Glance the still ever present geometry was kept in a modest secondary place and was usually neutrally colored, in Abstract Memory (2009-2011) the geometric became a powerful grid that inundated the ground of the compositions and filled them with color. Thus, the geometric passages became more and more complicated. And what had begun as a simple interior framing device set off a network of more complex elements in each new composition.

In Abstract Memory there are three typologies differentiated by how the stain flows over the geometric grounds. There are compositions in which the stains “travel” freely, without any connection to the compartmentalized bases. And paintings where the arrangement of the stains coincides with the rigidity of the windows that trap them, and a third typology that is related to the previous one in which the geometric hardness is exaggerated to the extent that it interrupts or cuts the outside edges of the stains at certain points.

The intention of the series is to talk about the social chains that bind us in our society, and the scant room to maneuver we have for changing anything that happens around us, and of the obstacles and differences imposed upon us.