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Vitor MejutoAqua green painting and shadows, The Magic Flute, visually translated opera2020
2020
About the Item
Vítor Mejuto introduces a geometric synthesis that breaks down painting into its most structural essence. His work, in which line, stain and shape establish a precise chromatic balance, shares affinities with the formal research of Ellsworth Kelly (Line Form Color, 1951) and with the reflection on pictorial modernity developed by Clement Greenberg (Modernist Painting and Other Essays, 2012). However, Mejuto’s geometry is neither univocal nor rigid: there is in his compositions a vibration that refers to the tradition of Malevich’s constructivism (The World Without an Object, 2013), but also a chromatic sensitivity that brings him closer to the emotional abstraction of Rothko (Modern Painting and the Northern Romantic Tradition, Rosenblum, 1975).
The dimensions are 50 x 40 cm. Acrylic on cotton canvas mounted on a wooden frame.
It is part of the "run out of paint" exhibition at the Manolo Eirin Contemporary Art Gallery. For more questions, contact us, send us a message and we will help you quickly.
- Creator:Vitor Mejuto (1969, Spanish)
- Creation Year:2020
- Dimensions:Height: 19.69 in (50 cm)Width: 15.75 in (40 cm)Depth: 1.19 in (3 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Carballo, ES
- Reference Number:1stDibs: LU2117215981002
The artist introduces a geometric synthesis that breaks down painting into its most structural essence. His work, in which the artist demonstrates a demanding investigation over the years between line, stain, and form, establishes a decisive chromatic balance between them. It shares affinities with Ellsworth Kelly's formal investigation in the highly refined visual transcription that Mejuto creates. We speak of geometry and abstraction, without it being in any way univocal or rigid, since the artist allows us to see the sketches themselves. There are vibrations in each of his compositions that can refer us to Malevich's Suprematism, as well as a sensitivity that brings them closer to emotional abstraction and the chromatic autonomy of forms, which we can see in artists such as Carmen Herrera.
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