RICARDO LOPEZ BUENO
Faces of the soul
From the beginning photography, which offered the generic quality of “mechanically” reproducing reality as an unfailing truth —or so it was thought—, slowly infiltrated the mould of classic pictorial genres to become an art that is now practiced as such. Thus, the representation of the landscape that would reveal the beauty of nature to laymen, as well as document previously unknown far-away lands, underwent enormous development over the course of the nineteenth century to create, over time, a specific aesthetic.
Meanwhile, portraiture, directly inspired by the rules of painting, fluctuating between the exact and supposedly objective representation of the subject, the evoking of the subject’s beauty and uniqueness and, above all, the magic act against death, still constitutes an unparalleled singularity. Indeed, it is built within the framework of a trilogy in which each role is clearly defined and the expertly-organised game between the artist, his model and the viewer is clearly moderated by the artist.
Ricardo López Bueno voluntarily chose a classic yet very personal approach that affirms rigorous, specific and uncompromising choices. In his work he plays with the traditional issues of viewpoint —seated subjects, often in three-quarter view and indoors—, frame —close-ups of the face or bust to better capture the subject’s personality—, light —the permanent presence of double artificial lighting to give a sense of volume—, decoration—as neutral as possible, that is, people standing out against a black background in modern clothes—, and the choice of subjects, who he prefers be simple and anonymous.
In fact, the bulk of his work is about this private and sensitive dialogue that he strikes up at length with the person; in this sense the contact prints are fascinating because they show the evolution of the subject’s expressions in the silence of the workshop, until all these elements find just the right balance to better translate the feeling that the person arouses in Ricardo.
Two fundamental operations then begin: choosing the images and the final definition of the format of the pieces. From all of these shots, often so different, Ricardo selects those that reflect his intentions and expectations to later make the print according to the use of the image; the small format will find its place with families, the medium format might end up in a collector’s display and the large format, exhibited to the public, will become part of the museum’s portrait gallery.
This exhibition will thus reveal the artist’s talent and, undoubtedly, a part of himself.
Agnès de Gouvion Saint-Cyr
|Number of works||33 photographs in color mounted and framed|
|Size of works||29 of 160x120cm|
4 of 50x40cm
|Size of crates||3 wooden crates of 168x128x50cm|
1 wooden crate of 59x47x30cm
|Rental Conditions||The borrower will be in charge of:|
-Transport from and to Madrid
-Insurance nail to nail
-Travel and Journey of the author from Seville (Spain)
|Availability||From January 2015|
|Curator||Agnès de Gouvion Saint-Cyr|