José Manuel Ciria
After a first stage linked to a figurative expressionist painting, José Manuel Ciria stabilizes in the early nineties the main poetic abstract key: the dialogue between the random flow of the stain and the rigor of geometry, which will involve the critical redefinition of the two fundamental tools of abstract aesthetics of the twentieth century. This first key soon will be added to the the artist's interest for the diversity of iconographic records and its indefatigable work of experimentation in the field of materials and media.
After a first stage linked to a figurative expressionist painting, José Manuel Ciria stabilizes in the early nineties the main poetic abstract key: the dialogue between the random flow of the stain and the rigor of geometry, which will involve the critical redefinition of the two fundamental tools of abstract aesthetics of the twentieth century. This first key soon will be added to the the artist's interest for the diversity of iconographic records and its indefatigable work of experimentation in the field of materials and media.
From the combinations of all these possibilities and supported by a solid conceptual reflection, José Manuel Ciria draw throughout the nineties many series whose main themes are time and memory. The new phase Ciria began in New York in late 2005 marked a turning point in his production, resulted in a process that recovered the line as a compositional framework and the consequent stabilization of an ambiguous iconography, halfway between figurative and abstract. In his most recent works, the artist recovers and strengthens the two ends of his abstract vocabulary: the stain becomes more free, intense, dramatic, while the geometry of the background accentuates its constructive rigor.
From the combinations of all these possibilities and supported by a solid conceptual reflection, José Manuel Ciria draw throughout the nineties many series whose main themes are time and memory. The new phase Ciria began in New York in late 2005 marked a turning point in his production, resulted in a process that recovered the line as a compositional framework and the consequent stabilization of an ambiguous iconography, halfway between figurative and abstract. In his most recent works, the artist recovers and strengthens the two ends of his abstract vocabulary: the stain becomes more free, intense, dramatic, while the geometry of the background accentuates its constructive rigor.
