<p><span style="color: #373e4d;">Eryk Pall completed his studies in art and illustration as well as comics and animation from France. Two years ago, he chose Málaga to start exhibiting his works. Since then, he has participated in several group exhibitions (such as Caja Blanca, Sala Fundación Cruzcampo, Espacio Cienfuegos). He considers drawing as a universal language, like Esperanto, through which one can describe what cannot be seen. He is fascinated by all that can be found in that limbo, between the eye and the brain. He likes to draw things that don&#8217;t exist to break all communication barriers and open a door to the fantasy and surrealism he sees everywhere. He also uses art as a medium to find a sense of reality, to understand how it works, how it moves and how it transforms.  Through this collection of 15 drawings, created in February 2014 and March 2015, Eryk Pall manifests his concerns over the following anthropological and philosophical questions: Does some kind of switch exist? Do I have power over it (to use it)? If so, how would I use it? (text by Violeta Niebla). <em>(text by Violeta Niebla).</em></span></p>
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Eryk pall:  ON | OFF

<p>&nbsp;</p>
<p><strong><em>B</em></strong>ox Pópuli</p>
<p>When we were kids, every time we found a cardboard box, our imaginations would instantly run wild and we could think of a thousand ways to use it. Thick carton was the best; we would carefully unfold it and break it into pieces large enough to sit upon. Sometimes two or three pieces came out that had to be shared and the lucky ones would take theirs to the slide and play for hours, going up and down. We also made houses on the terrace of my house, the cardboard could be easily manipulated and we could make doors and windows on it, draw locks, write sentences, put our name, etc. It would keep us entertained for several hours. We kept the smaller boxes for my brother Pepe who built cars with them. He would accurately cut out pieces for making car bodies, fit plastic pieces into their window openings and attach wheels of other toys.</p>
<p><iframe loading="lazy" title="Box Pópuli" width="500" height="375" src="https://www.youtube.com/embed/jxfNrG50RZY?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe></p>


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Box pópuli

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<video muted class="wp-video-shortcode" id="video-22725-1" width="720" height="720" loop="1" autoplay="1" preload="metadata" controls="controls"><source type="video/mp4" src="https://gravura.es/wp-content/uploads/2018/06/GALERIA-TALLER-GRAVURA.mp4?_=1" /><a href="https://gravura.es/wp-content/uploads/2018/06/GALERIA-TALLER-GRAVURA.mp4">https://gravura.es/wp-content/uploads/2018/06/GALERIA-TALLER-GRAVURA.mp4</a></video></div>
<p style="padding-left: 30px;"><a href="https://gravura.es/wp-content/uploads/2018/06/catálogoPedroMaruna.pdf">Pedro Maruna Catalogue</a></p>
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Engravings &#8211; ( Grabados )

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<p><a href="https://vimeo.com/197066347?ref=fb-share&amp;1">https://vimeo.com/197066347?ref=fb-share&amp;1</a></p>


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FABRIC &#8211; ( TELA )

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<p><strong><span style="line-height: 1.5;">Francisco González Romero, or the passion to create</span></strong></p>
<p><span style="line-height: 1.5;">Rafael Valentín López Flores &#8211; Doctor of Art History</span></p>
<p>Passion, exuberance, vitality, enthusiasm&#8230; these are some of the countless attributes that we can associate with the most prominent works of Francisco González Romero. Multifarious, diverse and always worthy of admiration, his creations are truly magnificent in each form, even more so when the experience acquired, through the years of experiments and disappointments, has never given way to boredom or detachment. They reflect a wide range of virtues, sometimes relatively obscure, from which we have picked, on the occasion of a new public display of his works, perseverance and curiosity.</p>
<p>Years ago, González Romero, the creator of an extensive and versatile collection of pieces, could have chosen to be contented with his fine art expressions, refining and remodelling them from the comfort of his bright studio in the heart of Málaga city centre, but he did not. Paco–as those of us who have the privilege of being his friends call him–creates like a “young” painter even in his 92nd year and he does so by constructing a creative universe that is marked by symbols and geometry; a pictorial world that has been in existence for over seven decades and that, far from turning mouldy or stagnant, breathes vitality and novelty through each of its pores. A world between two millennia that our painter, armed with very high doses of knowledge, inexhaustible reserves of energy and large storage of curiosity, encounters fearlessly, hand in hand with the tireless study of new aesthetic, philosophical and pictorial perspectives, deepening his knowledge of contemporary art and the avant-garde to adapt his view to the culture that surrounds him.</p>
<p>Today, after a lifetime dedicated to artistic creation, cultural promotion and education, Paco offers us the opportunity to delve into a new dimension of his multifaceted personality; once again he has amazed us by showing us his prolific creative universe through the use of new media and new techniques. González Romero has embarked on his new journey as an engraver, moving to the plate, equipped with burin and scraper, his latest aesthetic investigations into the process that he calls “Evolution in art”, and the result will, undoubtedly, leave its mark on the viewer.</p>
<p>Backed by the rigour and calibre of every good artist who has received formal training in the discipline, and well versed in the solid standards of architecture and interior design, Paco González Romero, during his extensive career, has provided us with various readings of the same creative passion embodied in the most diverse themes that are truly remarkable with their assertiveness, unique landscapes, still lifes, figures and interpretations of the sacred elements.</p>
<p>Today, with new techniques and new media, we contemplate the results of his painstaking research. With regard to the vision of the works, at first glance, it is worth noting that we are not looking at a painter of “sacred” works, not in the least. His vision, entirely aniconic, can be identified with complex linear schemes, colourful uniform planes enriched by superimpositions and subtle glazes, schematic figuration, colour schemes that range from a sharp contrast to a musicalised poetic rhyme, from deep black to the subtle pastels, a precise drawing or a characteristic style, a mark of style in the form of signature, symbol, or “written” presence of the creative spirit, which González Romero has repeated in his series: three vertical stripes that constitute an emblem of the painter&#8217;s intimate artistic “trinity”.</p>
<p>Despite the apparent apathy, based on geometric elements, planes and symbols, his interpretations are not lacking in spirituality and, perhaps, even indicate a certain “devotion”. However, in this case, the spirituality and devotion arise primarily from the internalisation of philosophical teachings, abstract concepts and aesthetic extremities of the art forms. They are expressed through symbols, complex geometries–in which, according to some, the perfection of divinity itself resides–and spaces that, despite their physical flatness, lead to a remarkable, almost infinite, spatial configuration which serves as the most appropriate background for unfathomable mysteries that González Romero produces with his brushes through truly symbolic diagrams whose universal inspiration underlies the immutable power of geometries.</p>


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First Exhibition of Graphic Works &#8211; ( Primera Exposición de Obra Grafica )

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Gallery&#8217;s collection of works &#8211; ( Fondo de obra de la galería )

<p><iframe loading="lazy" title="Stefan von Reiswitz" width="500" height="375" src="https://www.youtube.com/embed/HUamtPGMhSI?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe></p>
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<p>Fragments of a life&#8230;.</p>
<p>Fragments of different periods of an artist&#8217;s life, enthusiastic about Mediterranean cultures?</p>
<p>Freud and his followers sometimes remind me of old bunches of keys, which once opened doors that no longer exist today. Maybe one day the same thing will happen to me. Some people testify to me that I am a creator of worlds juxtaposed or parallel to visible life, or also to the so-called avant-gardes of my time. I think the thing is simpler: I have never cared about the ever-changing tastes of my contemporaries, which has caused me quite a few problems. I just followed, in a relatively carefree way, my own intuition or let&#8217;s call it my instincts. In this way, I discovered at every moment what seemed to me to be unknown lands and I did not care about anything other than bringing to light fragments of that world, a personal chaos. And I projected it with various techniques, some of them invented by myself. The only aim of these activities was to get to know myself better and to look a little more like myself every day.</p>
<p>What we have put together here is an attempt to show, with a few exemplary objects, how this adventure developed, from the 1950s to the present day, with all its consequences. It was nothing more than a constant search for the balance that I lost at the birth of this marvellously incomprehensible world. If philosophy is concerned with ultimate truths, irony has its sights set on the penultimate ones. Or to quote Carlos Fuentes: <em>Everything is hidden and lies in wait for us</em>. If perhaps you still don&#8217;t understand me now, don&#8217;t take this the wrong way. It&#8217;s exactly the same for me. (Stefan)</p>
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Goblins, Mermaids and Vampires. Parades, bikers and horses. Birds, Myths and other things &#8211; ( Duendes, Sirenas y Vampiros. Comparsas, motoristas y Caballos. Pájaros, Mitos y otras cosas )

<h3 style="float: left; margin-left: 0; width: 100%; padding-bottom: 35px;">Graphic art for a crisis</h3>
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<h3 style="color: #493d20; font-size: 15px; font-weight: normal;">Graphic art for a crisis</h3>
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<p><a href="https://gravura.es/obras/grafica-para-una-crisis/">+ See More</a></p>


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Graphic art for a crisis &#8211; ( Gráfica para una crisis )

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Graphic work &#8211; ( Obra gráfica )

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Monday to Friday from 11.00 a.m. to 2.00 p.m. / 5.30 p.m. to 8.30 p.m.

GRAPHICS

<h3 style="float: left; margin-left: 0; width: 100%; padding-bottom: 35px;">Gravura at Estampa 2002</h3>
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<h3 style="color: #493d20; font-size: 15px; font-weight: normal;">El Peregrino</h3>
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Gravura at Estampa 2002 &#8211; ( Gravura en Estampa 2002 )

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<h3 style="color: #493d20; font-size: 15px; font-weight: normal;">Territorio A</h3>
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Gravura at Estampa 2003 &#8211; ( Gravura en Estampa 2003 )

<h3 style="float: left; margin-left: 0; width: 100%; padding-bottom: 35px;">Gravura at Estampa 2004</h3>
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<h3 style="color: #493d20; font-size: 15px; font-weight: normal;">Estampa 04</h3>
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Gravura at Estampa 2004 &#8211; ( Gravura en Estampa 2004 )

<h3 style="float: left; margin-left: 0; width: 100%; padding-bottom: 35px;">Gravura at Estampa 2005</h3>
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<h3 style="color: #493d20; font-size: 15px; font-weight: normal;">Estampa 05</h3>
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Gravura at Estampa 2005 &#8211; ( Gravura en estampa 05 )

<h3 style="float: left; margin-left: 0; width: 100%; padding-bottom: 35px;">Gravura at Estampa 2006</h3>
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<li class="post-8245 product type-product status-publish has-post-thumbnail first taxable shipping-taxable purchasable product-type-simple instock" style="float: left; margin-right: 2.8%;"><img loading="lazy" class="attachment-shop_catalog wp-post-image" src="https://gravura.es/wp-content/uploads/2014/12/O18102-175x175.jpg" alt="estampa 06" width="175" height="175" /><br />
<h3 style="color: #493d20; font-size: 15px; font-weight: normal;">Estampa 06</h3>
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Gravura at Estampa 2006 &#8211; ( Gravura en Estampa 2006 )

<h3 style="float: left; margin-left: 0; width: 100%; padding-bottom: 35px;">Gravura at Estampa 2007</h3>
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<h3 style="color: #493d20; font-size: 15px; font-weight: normal;">Estampa 07</h3>
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Gravura at Estampa 2007 &#8211; ( Gravura en estampa 2007 )

<h3 style="float: left; margin-left: 0; width: 100%; padding-bottom: 35px;">Gravura Workshop funds</h3>
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<h3 style="color: #493d20; font-size: 15px; font-weight: normal;">Funds 04</h3>
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Gravura Workshop funds &#8211; ( Fondos del Taller Gravura )

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<h3 style="float: left; margin-left: 0; width: 100%; padding-bottom: 35px;">HABITANTES DE MOEBIUS (INHABITANTS OF MOEBIUS)</h3>
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<p style="padding-left: 50px; padding-right: 100px;">“No firefighter, not even an astronaut, surpasses a real Japanese, so it is not clear whether it was the gas which constantly emanates from this island’s volcanoes that forced its inhabitants to wear masks at all times or, on the contrary, some of its inhabitants—similar to the one who chose to roll the rice into pieces of seaweed, use the sword against his own belly or invent the Takeshi’s Castle—decided to distinguish their island from the rest of the world and propose the mask before the volcanic emissions even began.”</p>
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Inhabitants of Moebius &#8211; ( Habitantes de Moebius )

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<p><strong>Interludio para surco y cuerda (Interlude for groove and cord) Graphic work by Fernando de la Rosa.</strong></p>
<p>According to the Spanish dictionary DRAE, the term  <em>interlude</em> is derived from the Latin <em>interludere</em>, which means “to play at intervals”. For Fernando de la Rosa, who has not abandoned the playful sense that influences all of his works, the musical thinking is by far the most significant factor that articulates the composition and chromatism, combining movement and sonority in this persistent game where his works on paper evolve.</p>
<p>Among his series of <em>Polinizaciones</em>(pollinations), small-format paintings created until 2012 and the latest paintings of 2014, Fernando De La Rosa has devoted himself entirely to graphic art. He has spent a year producing silkscreen prints, intaglio prints and their editions for the first time at his workshop. An interval between paintings, in which he has gone from composing with the guiding (rhythmic) base of the point and chromatism to constructing from the dynamic (melodic) current of the line.</p>
<p>With this <em>interludio</em>, Fernando de la Rosa invites us to share his experiments with the engraving and the print, in which he also intervenes by painting manually, in an attempt to make a <em>zealously andante</em> headway towards the large-format paintings.</p>
<p><strong>Ángel María Rojo</strong></p>
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Interlude for groove and cord &#8211; ( Interludio para surco y cuerda ) | Fernando de la Rosa

Exhibitions

Eryk pall: ON | OFF

Box pópuli

Engravings – ( Grabados )

FABRIC – ( TELA )

First Exhibition of Graphic Works – ( Primera Exposición de Obra Grafica )

Gallery’s collection of works – ( Fondo de obra de la galería )

Goblins, Mermaids and Vampires. Parades, bikers and horses. Birds, Myths and other things – ( Duendes, Sirenas y Vampiros. Comparsas, motoristas y Caballos. Pájaros, Mitos y otras cosas )

Graphic art for a crisis – ( Gráfica para una crisis )

Graphic work – ( Obra gráfica )

Graphic work – ( Obra gráfica )

Graphic work – ( Obra gráfica )

Graphic work – ( Obra gráfica )

Graphic work – ( Obra gráfica )

GRAPHICS

Gravura at Estampa 2002 – ( Gravura en Estampa 2002 )

Gravura at Estampa 2003 – ( Gravura en Estampa 2003 )

Gravura at Estampa 2004 – ( Gravura en Estampa 2004 )

Gravura at Estampa 2005 – ( Gravura en estampa 05 )

Gravura at Estampa 2006 – ( Gravura en Estampa 2006 )

Gravura at Estampa 2007 – ( Gravura en estampa 2007 )

Gravura Workshop funds – ( Fondos del Taller Gravura )

Inhabitants of Moebius – ( Habitantes de Moebius )

Interlude for groove and cord – ( Interludio para surco y cuerda ) | Fernando de la Rosa

Landscapes of memory – ( Paisajes de la memoria )

Loathing of the amorphism. Actaeon – ( Hastío de la amorphía. Acteón )

Exhibitions

Eryk pall: ON | OFF

Box pópuli

Engravings &#8211; ( Grabados )

FABRIC &#8211; ( TELA )

First Exhibition of Graphic Works &#8211; ( Primera Exposición de Obra Grafica )

Gallery&#8217;s collection of works &#8211; ( Fondo de obra de la galería )

Goblins, Mermaids and Vampires. Parades, bikers and horses. Birds, Myths and other things &#8211; ( Duendes, Sirenas y Vampiros. Comparsas, motoristas y Caballos. Pájaros, Mitos y otras cosas )

Graphic art for a crisis &#8211; ( Gráfica para una crisis )

Graphic work &#8211; ( Obra gráfica )

Graphic work &#8211; ( Obra gráfica )

Graphic work &#8211; ( Obra gráfica )

Graphic work &#8211; ( Obra gráfica )

Graphic work &#8211; ( Obra gráfica )

GRAPHICS

Gravura at Estampa 2002 &#8211; ( Gravura en Estampa 2002 )

Gravura at Estampa 2003 &#8211; ( Gravura en Estampa 2003 )

Gravura at Estampa 2004 &#8211; ( Gravura en Estampa 2004 )

Gravura at Estampa 2005 &#8211; ( Gravura en estampa 05 )

Gravura at Estampa 2006 &#8211; ( Gravura en Estampa 2006 )

Gravura at Estampa 2007 &#8211; ( Gravura en estampa 2007 )

Gravura Workshop funds &#8211; ( Fondos del Taller Gravura )

Inhabitants of Moebius &#8211; ( Habitantes de Moebius )

Interlude for groove and cord &#8211; ( Interludio para surco y cuerda ) | Fernando de la Rosa

Landscapes of memory &#8211; ( Paisajes de la memoria )

Loathing of the amorphism. Actaeon &#8211; ( Hastío de la amorphía. Acteón )

Engravings – ( Grabados )

FABRIC – ( TELA )

First Exhibition of Graphic Works – ( Primera Exposición de Obra Grafica )

Gallery’s collection of works – ( Fondo de obra de la galería )

Goblins, Mermaids and Vampires. Parades, bikers and horses. Birds, Myths and other things – ( Duendes, Sirenas y Vampiros. Comparsas, motoristas y Caballos. Pájaros, Mitos y otras cosas )

Graphic art for a crisis – ( Gráfica para una crisis )

Graphic work – ( Obra gráfica )

Graphic work – ( Obra gráfica )

Graphic work – ( Obra gráfica )

Graphic work – ( Obra gráfica )

Graphic work – ( Obra gráfica )

Gravura at Estampa 2002 – ( Gravura en Estampa 2002 )

Gravura at Estampa 2003 – ( Gravura en Estampa 2003 )

Gravura at Estampa 2004 – ( Gravura en Estampa 2004 )

Gravura at Estampa 2005 – ( Gravura en estampa 05 )

Gravura at Estampa 2006 – ( Gravura en Estampa 2006 )

Gravura at Estampa 2007 – ( Gravura en estampa 2007 )

Gravura Workshop funds – ( Fondos del Taller Gravura )

Inhabitants of Moebius – ( Habitantes de Moebius )

Interlude for groove and cord – ( Interludio para surco y cuerda ) | Fernando de la Rosa

Landscapes of memory – ( Paisajes de la memoria )

Loathing of the amorphism. Actaeon – ( Hastío de la amorphía. Acteón )