MBITO DE ACUMULACIN 2001-2003

Under this title I have united a series of paintings on which I am working at the same time and
which, although technically different, formally and visually, they all refer to the same theme:
accumulation. This can be understood in different ways, either as auto-accumulation as
organization or auto-organization, as a chaotic or controlled accumulation, irrational,
sustained, or capricious.
All this growing out of an open spatial-atmosphere, based on color as light, and as the ground
where the language of the painting develops. In this way, this space becomes articulated by
different elements such as light, form, drawing, colour etc., and where visual perception of the
apparent, the optical and the virtual is developed.
I have subtitled these paintings as :
1- Espacio Autorregulado
2- Espacio Modificado
3- Autoacumulacin
4- Caprichos
1- Espacio autorregulado
In this work, which is an epilogue or natural continuation of the series Campo policrnico, I
developed the concept of sustained organization, and in this way, the work process regulates
the act of painting. A regulation that is created in time and space during the process of
painting, but which comes from no previous sketch, so that the result is unpredictable. So that,
in these pictures time is sustained, runs slowly; although it might be perceived that the
brushwork is expressive, resulting from the speed of execution, this is not so; here is revealed
the apparent, and the ambivalence of what seems to be and yet is not.
The brushstrokes get longer and occur in slow motion, where they are transformed,
constantly developing and changing both formally and chromatically creating an ambivalent
virtual space, where different visual elements intertwine.
Its in the spatial construction in the work process, without corrections or preparatory studies,
where from an open chaotic approach, the pictorial space organizes itself through an
adjustment of time during the work process.

2- Espacio modificado
In these pieces I work in an open space which organizes itself and where chance plays a
fundamental part in the creation of the work.
My approach to the work is: to destroy one reality so that, out of this act, another totally new
one can be created through a modification of matter and space.

With this approach, Im working in my paintings with the idea of destroying so as to construct
through modification, which can also be understood as rectification; and so, the moment I
consider myself to be painting is when Im working on the canvas cutting up the picture,
destroying what exists and creating a new reality, created by the use of the knife. This is
important in the work process because it allows me to keep a distance from the picture, to
paint as if I were some distance away from the work. It prevents me from controlling the
process, and allows chance to play its part, and creates a raw, ambivalent atmospheric space
which keeps it from becoming too precious. The material aspect of paint appears, but as
negation, resulting in a texture of emptiness; as if it were anti-matter.
There also appears in this work the theme of chaos, within an order which allows the chaos to
work. The idea of the sign or marking which time ends up placing on things, expresses an idea
which interests me visually and conceptually for the way it manifests itself spontaneously and
by chance.

3- Autoacumulacin
In these paintings space unfolds through the indiscriminate accumulation of pictorial objects,
creating different layers, which superimpose themselves on each other until they create a
dense, overloaded space. There are no preparatory sketches for the composition, and its the
picture itself which gradually creates its own pictorial space. Colour and shapes interweave to
create their own tapestry of multiple spaces, in an atmospheric field of layers of light and
colour.

4- Caprichos
In this series space is organized on different planes and at different scales. Here space opens
up and the accumulation disperses acquiring different proportions. Its an open accumulation
where the empty fields contribute to the spatial weave. Colour and shapes intertwine to
create their own tapestry of full and empty spaces in an open atmospheric world, where light
and colour expand and intertwine and superimpose on each other on different levels.
There exists a spatial independence, revealing a floating atmosphere, in which things seem
able to flow freely in their own environment without their surroundings or the weight of
gravity influencing them in the least.

Pablo Rey, Sant Feliu de Guixols, Winter 2002