Joaquin Lara

Joaquin Lara - Portable series 3

Biografía del Artista: Joaquín Lara painter and photographer. It all began in the eighties. After passing through the Faculty of Information Sciences, where Joaquin Lara began his journey in photography, publishing in the magazine Muscaria, with Oscar Amézaga, Roge Blasco, Roberto Moso, etc. He soon realized that he was more interested in artistic photography than journalism. He began to wander around different workshops in Bilbao, Pepe Barceló, Roscubas, where he met Carmelo Camacho, and Fernando Biderbost, where his love for painting was immediate, and he began to paint professionally in Fernando's studio "La Hispano Suiza". From there, exhibitions, both individual and collective, and competitions were not long in coming, with some success that gave him some encouragement to continue. At the end of the eighties he managed to enter the workshops of Arteleku with Frederic Amat, which completely changed his vision of painting. Zumeta's daily presence creating his gigantic silkscreens were three months where everything changed. With that background and a head full of projects, Joaquin Lara moved to a much larger studio in Las Cortes, Bilbao, with Fernando Galvan and Carmelo Camacho. In the mid-nineties he began to move his work around; Barrainkua, Arriola Cultur Etxea (Peio Aguirre curator), Talleres Abiertos La Bolsa Bilbao, he participated in the event “En Canal" in an industrial building in Zorrozaurre with Alberto Lomas as curator, Espacio Grossi, etc. At the end of the nineties, he moved to Vitoria where he began a new stage meeting artists such as; Koko Rico, Edurne Herran, Iban Arroniz, Iñaki Larrimbe, Dorleta Ortiz de Elgea ... My first exhibition in Vitoria, in 98, at the Cultural Center of Montehermoso "El Recorrido de Los Objetos", "Horror Vacui" at Espazio Zuloa" followed by multiple collective and individual exhibitions at the beginning of the new century, such as "La Vida Mixta" at the Txema Burgos Gallery in Bilbao, "Piktoplastikos" at the Caja Vital, "PBSeries" Jamete Cuenca Gallery, "Territorio Desconocido" Blanca Soto Gallery Madrid, etc. His work is present in various institutions and private collections.

Portable series 3 Acrylic on polyester canvas and brass eyelets. 60 x 60 cm. Painting to the rescue of a “moment” in the flow of the landscape. The record of a meaning in the constant transformation of an environment that struggles to regain another balance. The provisional; the arbitrary; The casual as a reference. I remember Marcel Mariën’s phrase “before creation, God did not exist.” What surrounds the work is the contingent, the fragmentary, the ephemeral, the “confused mass,” the chaos. Artistic practice, like any other medium, through the synergy that arises from discovery, helps the author to glimpse the essential. The work is a microcosm where the author tries out solutions that unravel that “anima mundi,” that harmony that hides behind the chaotic appearance of reality. The artist faces a project without hierarchies, in constant collision, a mixture of spurious techniques that interfere with each other, collapsing the medium and the message. The different stages overlap in an accelerated entropy, remnants of meaning adrift trying to group together and metamorphose. The artist, perplexed, makes a gesture and watches himself intervene. The event extinguishes the incipient order; very soon, silently, another order, this one more complex, but already bastard, without legitimacy, clings to the object. Will it be aesthetically viable? The shipwreck is imminent, the work sinks into insignificance. Dissonances, flagrant contradictions, rectifications... The amorphous consolidates itself step by step. Perhaps," as Adorno says, "one of the tasks of art consists in expressing the inarticulate and the incipient, the absurd and the arbitrary from the perspective of the articulated and formed, without rationalizing or socializing it." For him, "the task of art is not to create an articulated form, but to reinvent the amorphous and inarticulate... Only by deforming or decomposing what has already been collectively formed can we directly reach the lack of form, or by having the strength of artistic will to directly illuminate the amorphous. , one can capture, even in the abstract, a certain appearance of uniqueness." Back to the work, time has decanted its meaning, the fullness gives way to emptiness, another cycle begins. The artist approaches the painting whispering, his method consists of testing and exploring like someone who cautiously enters an unknown territory.