The interaction in this world where racism, xenophobia and homophobia are unfortunately proliferating and threaten the happiness and tranquility of many people.

The love between identities, everything is welcome in my work, as if they were forms without gender or race, relating to each other and the environment where they live.

Mar Ripoll

Exhibition text:

PRIMARY CONFIGURATIONS EVOLVING From the central configuration to the lateral configurations

A close look at Mar Ripoll’s work reveals an evolution in her primary configurations. In the previous configurations, the center was the axis on which the whole painting depended. Everything converged with a coming and going of the combinations of colors and figurations from the center, acting as a vertebral axis, which maintained its importance with an inexorable tendency, as if that which was deepest, that which was to be discovered, had to manifest itself from the center.

On the other hand, white, symbolizing that which is immutable, that which does not alter, of a sought-after peace, also playing with concealment, which contrasts and at the same time flows with the tonalities and figurations that surround it. The same white that marks one’s contemplative state.

Also the importance of the figurations, showing themselves in a relationship of perception between the work and the observer. The multiple possible interpretations that the observer can make of the figurations that emerge, brings us back to the question of who is observing when we look at a painting, from where we are looking at it. The figurations act as our mirror, they can be a reflection of our interiority.

These figurations, which have emerged from a detachment from the artist to manifest themselves from a place deeper than individual will or pretension, do not allow themselves to be trapped by a single interpretation, they allow our contemplative being to come into play. To contemplate is here to relate our interiority to that which has manifested itself.

Without abandoning previous aspects (the center, the white, the figurations), in the current work we arrive at decentralization. It is a new evolution towards leaving the center as the main axis. Decentralizing the central image and the energies that flow so that the whole painting can take on importance. There is no center that is more important than each part of the painting. It is a unitary whole.

In artistic expression, the fluctuating movement of covering and uncovering, of veiling and unveiling, the center disappears again, waiting to appear or rather to be transfigured by all the parts of the painting.

If we refer to the previous configurations, it seems that it is awaited, that it may appear, but in the new stage, the result may be the transfiguration of the center to the whole picture.

Therefore, there is not only the center but also the sides of the painting have their importance. There are a series of lateral configurations that are forming and interacting with a center that remains as a part of the whole. There are shapes that are sometimes alone and sometimes with other shapes, there are interactions with oneself, in pairs or with others. All forms are possible. And this multiple openness of possibility leads us to the understanding that all is well. Everything is part of the investigation of a felt global unity.

This work is an invitation to an unprejudiced contemplation, to let oneself be carried away by all that is manifested in the paintings and to endow our gaze with the aesthetic pleasure open to the possibility of all that we can find.

Miquel Àngel Seguí, Philosopher