Bernardi Roig

Bernardí Roig - Raso #76 drawings

Técnica: Chinese ink on watercolor paper

Biografía del Artista: Bernardí Roig is a Spanish visual artist born in Palma de Mallorca in 1965. He is known for his multidisciplinary work spanning sculpture, photography, video, installation and drawing. His works often have a conceptual approach and his work is characterized by the exploration of themes such as identity, death, memory and perception. Bernardí Roig has exhibited in numerous galleries and museums in Spain and abroad, and has participated in international contemporary art biennials. His work can be found in important museum collections and private collections around the world. Among his most notable works are the series "Blackout", "Selfportrait", "Light and Matter" and "The Shadow of the Monster". His sculptures and human figures wrapped in bandages or covered in plastic have become a hallmark of his artistic style.

This new exhibition by Bernardí Roig (Palma, 1965) at the Max Estrella Gallery is an attempt to alleviate the overload of soot on the walls, saturated with images in which there is nothing to see. But not only are the images tired, the eye is exhausted and the walls are exhausted. Even the light no longer comes from the ceiling to illuminate and guarantee the scene, it is now at ground level, it has ceased to be affirmative. Deshollinar los paredes is, among other things, an exhibition of drawings on the floors in which the walls, once swept, only serve to be scratched or penetrated. The gallery space becomes a void saturated with white that speaks to us of the fatigue of the iris, and the visual sclerosis produced by the transparency of this technological present without shadows, amnesiac and crushed by an excess of reality. Walls are more beautiful when there is nothing on them, just white on white. 721 urgent drawings, drawn in black ink, some with splashes of color that defy the inflation of the unrepresentable. They emerge from immediacy, without retouching or corrections. Images of generous, joyful bodies brimming with carnality accumulate and spread around the corners. Some drawings build the “mountain of the rejected,” others delimit the “zone of the admitted,” although they could be perfectly interchangeable. They are all filled with time. Drawing is the only tool to trust because it instantly corners the idea that is on the run.