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Guillermo Mora (Alcalá de Henares, 1980) takes time fascinated by the verbs of action. They are those that push you forward, those that convert loopholes into frontier spaces. Add, subtract, multiply, divide, add, join, increase, soul ...

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Guillermo Mora (Alcalá de Henares, 1980) takes time fascinated by the verbs of action. They are those that push you forward, those that convert loopholes into frontier spaces. Add, subtract, multiply, divide, add, join, increase, soul ...

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Guillermo Mora (Alcalá de Henares, 1980) takes time fascinated by the verbs of action. They are those that push you forward, those that convert loopholes into frontier spaces. Add, subtract, multiply, divide, add, Unite, increase, store, gather, gather ... They allude to the first mathematical rules we learn, but they also refer to the most basic experiences of life. Of them has always been surrounded to explain the structural basis of their work, that part of one of those essential and complex questions, how to make painting? Like any unknown, his works always remain in the limits, in a being one thing and another, painting and sculpture at the same time, or in being one thing in another, painting in sculpture. Half you, half me. It moves between dualities, between the measured and the improvised, the playful and the physical, in an uncomfortable answer on the language of the pictorial. An action that has also led to the stretching of new verbal times: to question it, to put it into evidence, to bend it, to break it. To force it to break it. That language respite has led Guillermo Mora to be one of the most celebrated artists of his generation. Also one of the most awarded. The last one, that of the community of Madrid to the thread of the recent edition of the Fair Estampa, has been for his work curtain. It saw a clear cut with his best-known works, the almost edible, in which he dislocated the traditional idea of the painting. Fleeing the surfaces, formal and symbolic, the artist proposes a journey in reverse, from the inside out of the painting. That is why the funds go back to their premiere in Moisés Pérez de Albéniz. Few exhibits have worked better the space of this gallery. Soon appear his best works, especially the ones that flirt with the sculpture, in which he retakes several of the problems in the history of the painting: The dilemma of the background, the notion of surface, the depth and the thickness of the painting. On the walls, the backgrounds remind a computer screen where the texts overlap. Mora puts three more verbs on top of the table, overlap, hide and disappear, to question the misleading structure of the pictorial. He uses language as a narrative trap to play with a complex network of symbolism linked to his interest in defying the obsolete world of rules and definitions. He away betting on doubt, which, rather than offend, expands. The funds go back. Guillermo Mora. Gallery Moisés Pérez de Albéniz. Madrid. Until November 11th.

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