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Gallery Yusto/Giner is host to a pictorial exhibition about the imagination and journeys gleaned from family memories
31.03.14 - 14:47 -
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The sentimental atlas of Miguel Gómez Losada
Gómez Losada has contributed 30 paintings to the exhibition ‘Una historia rusa’ at the Yusto/Giner. :: s. s.
Gallery Yusto/Giner is host to a pictorial exhibition about the imagination and journeys gleaned from family memories
Every night his father liked to consult maps, the atlas where he would pass his fingertips like a compass searching for exotic destinations, distant adventures. And the path he took was one of these, almost to the other side of the world, to the cold wastelands of Russia, between the end on the 60s and the beginning of the 70s.
Miguel Gómez Losada was an only child. “This has defined my imagination,” comments the artist, who launched his exhibition ‘Una historia rusa’ (A Russian Story) last Friday in the Yusto/Giner Gallery in Marbella.
Gómez Losada (Cordoba, 1967) has taken more than year to complete the project whose final piece was only finished less than two weeks ago.
“It is an idea that Igo back to every now and again: to paint a Russia that I have created in my imagination from the stories my father told me about each journey,” explains the artist, who currently forms part of the La Térmica Resident Creators in Malaga.
The works are often misty, like a journey through a distant dream maybe from childhood, which the artistic director of Yusto/Giner, Sandra Pedraja, links with the Russian film director Andrei Tarkovski. “The absence of the father plays a central role in Miguel Gómez Losada’s project, which revolves around the idea of nostalgia, but not from the point of view of sadness, rather from the possibility of opening new doors to lost paradises,” explains Pedraja, who will be keeping the exhibition ‘Una historia rusa’ at the gallery until May.
Pedraja stresses the “poetic charge” in the work of Gómez Losada, whose exhibition at the Yusto/Giner is his first solo show in Malaga. The artist also reflects on his connections with the Russian film maker: “I think that the links came later. It was not conscious until commented ‘a posteriori’.”
Gómez Losada describes his work as “a romantic form of painting that connects to the works of Andrei Tarkovski, with his way of setting out stories from and contemplative perspective, with images of snow or of the barren Siberian wastelands.”
His is a “romantic vocation” from which he wants “to get rid of all the sugariness”, the simplistic affectedness of imposed sentimentality: “I defend everything that is able to generate an emotion in us, but in this way Iwant to get rid of the cream. Sugar, zero. I reclaim the right to contemporary romanticism through fantasies about other lands, other places.”
Physical places, and imaginary ones too. These intimate spaces trace a sentimental map , Miguel Gómez Losada’s personal atlas that could well be the atlas of any dreamer of journeys to lost paradises.
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