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

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 an instant.
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 stories.