María José Gómez Redondo and Luis Mayo, two artists with a long history who share their vital and creative journey since they met for several decades at the Faculty of Fine Arts, inaugurated a photography exhibition this Thursday at the Los Serrano Palace of the Ávila Foundation and painting, respectively, two different forms of artistic expression, but with his hand they become two very coherent ways, even it could well be said that they are complementary, of looking at reality, interpreting it and sharing it with the viewer.
With the added incentive of this being the first time they held a joint exhibition, something that they claimed made them “very excited”, both creators returned to Avila, where María José Gómez had already shown her ‘Hands of Teresa’ in 2015 turning the skin into “a delicate fabric”, and in which Luis Mayo participated for several years, on the same stage at the Serrano Palace, as coordinator of the Francisco de Goya Chair, whose main teacher was the painter Antonio López.
María José Gómez exhibits 27 large-format photographs that have sheets as thematic axis, fabrics that are reality and are at the same time symbol because they are full of the enormous meaning that they have that they are elements that we use throughout our lives, in the that we are born, we live, we love, we sleep, we dream, we get sick and we die. From his perspective, the sheets open the door to an “infinite landscape” that, fundamentally, “allows us to breathe.”
The photographic images of arms, faces and sheets flow into the vaulted rooms of the Palacio los Serrano, creating an atmosphere that navigates between emotions and experiences, making the visit to the exhibition a singular experience of symbiosis between the stone space and this album of the human family.
three series. The paintings by Luis Mayo, which have in common with the works of María José Gómez Redondo the use of the sheet as a symbol that makes the figurative metaphorical, belong to three series in which the artist, he explained, has been working for several years.
One of them has as its protagonists the pine forests near his place of residence, in which he hangs white cloths “that come out to the viewer as if they were apparitions, suggestions or ghosts, perhaps also white flags of surrender or help.”
The second has the city of Madrid as a reference, but the capital of Spain has been converted into a place «abandoned, injured, as having to do with the recent pandemic or with the passage of the storm Filomena, offering a post-apocalyptic, dystopian, in which the sheets indicate the defeat, innocence and surrender of its inhabitants ».
The third series is a tribute to the Flemish painter Patinir, whom he remembers creating bluish landscapes and transforming the sheets “into altars where contemporary sacrifices are offered to a god who cannot hear our prayers.”
The exhibition can be visited until May 29, from Monday to Monday to Saturday from 11.00 to 13.30 and from 18.00 to 20.00; on Sundays and holidays it will be closed.