CLUB PRENSA CANARIA
2nd - 19th MARCH 2010
The exhibition involves
five original scrolls ( 1,4,5,7 and 8), spread out on walls
or on the floor by their weight, their texture and their
manipulation...with their physical existence, horizontal
or vertical. There are also five lines, digital copies of
the originals, which have been reduced and which let you
appreciate the totality of each one and enjoy the pentagram
effect of the black and white figures.
5 Originals + 5 Copies
REALITY EXPRESSED IN IMAGES
Written by the Canarian lournalist Antonio G. González
The drawings began on
paper napkins. Armando Gil is an artist of drawings.It just
emerges. During 30 years he always painted on paper napkins.
He did that while studying in Madrid , on his return to
Gran Canaria and afterwards in his profesional destinies:
Bruges, Brussels, Miami, Tenerife and Las Palmas. He started
with these paintings even before knowing what he was doing.
And the web of drawing started to grow. Combined with the
desire, the experience of the painting was trigged.
That created the artistic vein which turned into a wish
to produce a work of art.
Armando Gil took his time, because he wanted the “real”
itself to become art. He didn’t want to imitate anything
just to beeing an artist, but to create a work of art.
And at least, the result is teh Asian scroll – beautiful,
elegant, decorative and fresh – where the complexity
and the unfathomable depth come together.
Armando Gil has created a work of art, it has emerged fron
his own life, from his obssesiv confrontation with the reality.
But what’s “real”? What are we going to
name “real” in the Asian scroll?
Someone said it already: It’s all that useless, it’s
the rest which can’t be assimilated and which constitutes
the subject itself in its subjectivity and always escapes.
Somebody asked Borges once what was literature for and he
answered:” What is the rainbow for?” What Armando
Gil is trying to express on his rolls is what happens but
we can not express in words. Differently to what occurs
with reality, the “real” can’t ever be
formalized. Life is refractory to the formal.
It’s an Asian scroll which, in fact, nobody understands
because it hasn’t been made to be understood. However,
art unfolds its strategy to meet the offenssive excess,
the crazy enjoyment, the obscure gods.
The artist touches the “real” with his felt
pen. It is just an appearance. It reaches the impossible,
without grammatics or any visual narrativ logic, just for
When coming up with his Asian scroll, A. Gil is creating
a visual accorent, a sequence of images that are neither
writing nor painting. Here we have a magnificient artist.
There is a figurative work of art, a picture with its own
will.It is the musicality without sounds.
What?s the meaning of these Asian scrolls painted with black
ink What’s the meaning of this unprecedented grafity
pictogram, of this singular “manga” esthetics
with a little bit of the occidental vanguard?
How is it possible that this impuls of death and this explotion
of life are replacing the Imperial art?
Armando Gils paintings contain all stories, all dreamed