Introduction
4
Introduction
by Caroline Jowett
Art is not about being famous. Art is about freedom, human freedom...
but to find freedom for others you must first free yourself. An artist must
follow his dreams and feelings and not what is trendy or topical. Art is
not a competition with other artists, it is not a race.
1
Pedro Paricio, June 2016
Many years ago, when I was starting out as a journalist, the
Just as Shaman was a leap forward in confidence and maturity
Dreams is the work of a more open, relaxed, Paricio ¨C a man
Booker-Prize-winning novelist Ben Okri told me something
from Diary of an Artist and Other Stories, so Dreams is both a
who is comfortable in his own skin. He is back in Tenerife
progression and departure from Shaman: and Paricio interprets
after two years living and working in London and has set up
said, those who mine a shallow stream of consciousness and
this theme widely. If in Shaman he was introspective, in Dreams
a new studio in the north of the island. Whereas before he
produce work that is instantly
he is outward looking. He has turned his mirror round, to train
painted in artificial light, he is now using natural light and
its gaze on us.
the windows, once closed, are wide open. Is it a clich¨¦ to say
I¡¯ve never forgotten.
There
are two kinds
gratifying
of writers,
he
and immediately
forgettable; and those whose writing emerges from the mulch
of a lifetime¡¯s experience to deliver something original and
that to enter an artist¡¯s studio, is to enter his mind? Not in this
profound. These, he said, are the great writers. And it applies
At a time of global uncertainty and mass migration, this new
case. Paricio¡¯s studio is an Aladdin¡¯s Cave of magazine articles,
equally to artists.
body of work is as much about our common humanity as it is
puppets, bric-¨¤-brac, found items, pictures, books and what he
about freedom of the individual. This is Paricio¡¯s most political
calls his Portobello objects, curios from the famous market.
Good artists do more than make you look: they make you
series to date and his darkest: subjects include war, gangs and
They are the touchstones that stimulate his mind when he¡¯s
think. Like Okri¡¯s writers, they are not about fame or money,
the current refugee crisis. Some of the pieces such as Realpolitik
working late into the night of a twelve-hour day with only a
nor do they pursue the vagaries of fashion. Rather they dig
(p. 44) and Youth (p. 28) are almost sinister, but humour and
cigar and his music for company.
deep inside themselves to produce work that resonates, not
optimism bring them back from the edge. In Bonnie & Clyde
only with us now, but also with future generations. One such
(p. 32) all the dreams of freedom you could ever wish for are
Paricio¡¯s appearance is also symbolic of his work: each item of
artist is Pedro Paricio.
captured in the clenched fists guiding the machine gun. However
clothing is chosen with care and for a reason. In this new phase,
you feel about Paricio¡¯s work, you will never be indifferent to it.
the uniform of jacket, hat and tie has been replaced by white
In the time I have known Paricio, I have seen his work grow
T-shirt and jeans and he has let his curly fair hair grow out. The
and develop through three exhibitions: Master Painters (2011),
¡®Dreams are not only what we inhabit when we sleep,¡¯ he says
hat, which features in so many of his paintings, was abandoned
Diary of an Artist and Other Stories (2012) and Shaman (2014).
when we discuss this new exhibition, ¡®they are fantasies and
after a nightmare in which he understood it was time to move
It has been a pleasure to see him fulfil his promise as one of
desires and fears, both of what we are hopeful for and what we
on with his art. The new Paricio appears on the shoulders of the
100 New Artists chosen by Francesca Gavin to emerge as an
are oblivious to. Though dreams are subconscious, they are also
old in Builders (p. 10) and in Analogic Man (p. 48) where he is
authoritative voice in modern art.
a ref lection of consciousness.¡¯
strumming his guitar.
This new exhibition Dreams is not only Paricio¡¯s fourth with
The majority of pieces in this exhibition are, as you would expect,
¡®When I change, my art changes,¡¯ he says. ¡®I change to keep
Halcyon Gallery, it also marks the fifth anniversary since he
acrylic on linen or, in the breakout series Particles,
my art alive. Artists that keep going the same for forty years, I
became their youngest signing, and comes hot on the heels of
acrylic on linen and canvas. Painted mirrors and his first three-
don¡¯t like that, I like to try different things. This new series is
last year¡¯s retrospective, Elogio de la Pintura (2014¨C2015), at the
dimensional kaleidoscopic sculpture Pollux inspired by D¨¹rer¡¯s
different but the same. All I have learned in the last ten years, I
Tenerifie Espacio de las Artes.
The Philosopher¡¯s Stone point to an exciting new direction.
have put in.¡¯
2
a mix of
He celebrates this freedom in two paintings: Mount Neriton
Paricio¡¯s inspiration has always come from a broad spectrum:
(p. 24) and Lazarus (p. 18), perhaps the two most personal
other artists, of course, books, music, film. He is terribly
pieces in the exhibition. Neriton, according to Homer¡¯s Iliad is
affected by the news, as is evident in works such as Promised
the mountain dominating Odysseus¡¯s homeland, Ithaca. If there
Land, Realpolitik and Youth. His current reading is sociolog y
are parallels between Tenerife and Ithaca, then this is a painting
and psycholog y, but he hasn¡¯t lost his love of history ¨C of
about homecoming.
man and of art. Dreams is layered with references not just
to classical art, but literature too, drawing parallels between
Paricio is ¡®a big, big puzzle with a lot of pieces¡¯, and, as he
our contemporary
world
continues to grapple with these, he needs only the simple things
face of it, Promised Land (p. 14) could be Paricio and Theo
in life: time, freedom, nature and, most importantly, family. His
heading to the beach with a child ¡¯s wooden horse. But the
art comes from so deep inside him that not even he can always
preliminary
see what he¡¯s drawn on to make it. I have a vision in my mind of
does five or six now instead of painting straight onto the
The blurred kaleidoscope effect he began to develop more than
Paricio f loating high among clouds representing his ideas and
canvas) show this is not a self-portrait. Are this father and
two years ago now glows like embers in the segmented trunk of
the artists he admires. A ribbon tied round his ankle snakes
son travelling to the Promised Land or away from it? Could
the elephant The Wise (p. 68). It is one of the first of the new
down to the ground where he is anchored by his partner Elena
they be Moses and the Israelites leaving Eg ypt or Aeneas and
series and therefore the most connected to Shaman.
and son Theo. He is able to take voyages into his imagination
his son leaving Troy? The painting is an allegory of exodus,
because they are always there to guide him home.
one can arg ue, a comment on the current refugee crisis. The
¡®A new narrative phase is coming,¡¯ he explains. ¡®Shaman was the
wooden horse is significant ¨C besieged Troy was in modern-
culmination of a previous style in all senses (mysticism, hat, f lat
Lazarus is probably the most telling piece in the exhibition.
day Turkey after all. ¡®Other artists make closed statements,
perfection). I¡¯m now exploring new paths but not forgetting
A dead body, (Paricio?), lies on a bier under a shroud. A red-
I want to open a debate and speak about human history ¨C to
where I came from; there is a clear break but also continuity,
haired woman (Elena?) and a small child (Theo?) look on.
paint about Syria,¡¯ he says.
because art is always a break and a continuity at the same time.¡¯
I f this seems a stretch too fa r, then consider that Pa ricio¡¯s
Although sometimes his work, as in his tribute After Francis
drawings
and classical mytholog y.
(another
new
On the
development
¨C
he
Pedro Paricio, a study for Promised Land, 2015.
Mixed media on paper, 41.3 x 57.2 cm
¡®Some people have one life,¡¯ he says, ¡®a linear life. Others are
reborn many times in many incarnations.¡¯
The catalyst to
rebirth is the child.
work
is deeply rooted
is impor ta nt
in the cla ssica l trad ition.
a nd each work
is str uctured
Form
precisely
to
this label. Au fond he has the intellect and skill of a classical
wa s
artist; each painting draws on the experience of his lifetime,
Put like that, Lazarus is not about death, it¡¯s about awakening
ma ke you ref lect,
and, in fact, the shroud is open where the feet should be,
cha racterised
suggesting the spirit is already free, rising like a phoenix ablaze
ka leidoscopic geometr y a nd whi le they¡¯re sti l l there , he is
the inf luences of Caravaggio, Vel¨¢zquez, Picasso, Bacon, and
with hope and light.
now more play f u l, more pa interly.
others are evident, but his magpie¡¯s eye is forever seeking out
by
a s good a r t shou ld do. Shaman
Bacon (2009), could be said to have the Pop aesthetic, he rejects
f lat
backg rounds
a nd his
sig nature
which is why he is always moving forward. If you look closely,
6
Artist's Studio, Tenerife, Spain
new narratives and new techniques. It is these aspects that keep
New earthy colours are in the khaki background of Bonnie &
1
Pedro Paricio in an interview with Caroline Jowett, June 2016.
his work so fresh.
Clyde, for example, or the grey of Lazarus¡¯s shroud. Like the reds,
2
Francesca Gavin, 100 New Artists. Laurence King, 2011.
yellows and oranges of Paricio¡¯s scintillating geometry these are
Two names are key this time round. The masters of still-life
also the colours of Tenerife.
the arts and literature. She is the former Arts and Literary Editor
Jean-Baptiste-Sim¨¦on Chardin (1699¨C1799) and Italian Giorgio
Morandi (1890¨C1964).
There are many ways to tell your story, art is just one of those
of the Daily Express and is currently working on a novel set in late-
ways. Paricio does not justify or explain his work, he sees it
eighteenth century London.
It¡¯s easy to see why Paricio¡¯s drawn to the former: ¡®Who said one paints
as a three-way conversation and expects it to play a full part
with colours?¡¯ Chardin once asked. ¡®One employs colours, but one
alongside the artist and the viewer. In his clever, insightful way
paints with feeling.¡¯ Alongside the Frenchman¡¯s sharp reds and glowing
he is inviting us to ref lect on ourselves and our dreams.
yellows is a more muted palette, which he draws on for tonal variation.
Couple that with the strong form and subtle colour gradations of
Giorgio Morandi, and you have the technical revolution of Dreams.
Acrylic, Paricio¡¯s chosen medium, is difficult to work as it doesn¡¯t have
the malleability of oil and dries quickly, nevertheless he has pushed his
paint to achieve the exquisitely subtle fading of Promised Land and the
impasto of Mount Neriton¡¯s bubble-gum-pink snowcap.
Caroline Jowett is an author, journalist and critic specialising in
SUE?OS
Caroline Jowett ?
"Los sue?os no son s¨®lo lo que habitamos cuando dormimos", dice. Cuando hablamos
de esta nueva exposici¨®n, "son fantas¨ªas, deseos y miedos, tanto conscientes como
inconscientes, porque aunque los sue?os provengan del subconscientes tambi¨¦n son un reflejo
El arte no va de ser famoso. El arte va sobre la libertad, la libertad
de la realidad consciente".
humana ... pero para mostrarle la libertad a otros primero debes ser libre tu
mismo. Un artista debe perseguir sus sue?os y sus sentimientos, no lo que
La mayor¨ªa de las piezas de esta exposici¨®n son, como cabr¨ªa esperar, acr¨ªlicos sobre
lino o, en el caso de la sorprendente serie Part¨ªcles, una mezcla de acr¨ªlico sobre lino y tambi¨¦n
est¨¦ de moda o sea tendencia. El arte no es una competici¨®n contra otros
lienzo. La serie Gallaxiesv, a medio camino entre la pintura y la escultura, y Pollux, su primera
artistas, no es una carrera.?
escultura tridimensional inspirada en la Piedra Filosofal de D¨¹rer, apuntan a una nueva
Pedro Paricio, Junio de 2016.
direcci¨®n muy emocionante.
Hace muchos a?os cuando empec¨¦ como periodista, Ben Okri, el novelista y ganador
Dreams es la obra de un Paricio m¨¢s abierto y relajado, un hombre que se siente
del Premio Booker, me dijo algo que nunca he olvidado. ¡°Hay dos clases de escritores, aquellos
c¨®modo en su propia piel. Despu¨¦s de dos a?os viviendo y trabajando en Londres, est¨¢ de
que exploran la corriente superficial de la conciencia y producen un trabajo instant¨¢neamente
vuelta en Tenerife donde ha establecido su nuevo estudio en el norte de la isla. Mientras que
gratificante e inmediatamente olvidable. Y otros cuya escritura emerge de la aut¨¦ntica
antes pintaba ¨²nicamente con luz artificial, ahora tambi¨¦n utiliza la luz natural que se cuela por
experiencia vital, para entregar algo original y profundo. Estos,¡± dijo, ¡°son los grandes
las ventanas, las cuales una vez estuvieron constantemente cerradas y ahora siempre abiertas.
escritores¡±. Una afirmaci¨®n que, desde mi punto de vista, podemos aplicar igualmente a los
?Es un clich¨¦ decir que entrar en el estudio de un artista es como entrar en su mente? No en
artistas pl¨¢sticos.
este caso. El estudio de Paricio es una Cueva de Aladino llena de recortes de revistas, t¨ªteres,
bric-¨¤-brac, objetos encontrados, cuadros, libros y lo que ¨¦l llama sus trastos de Portobello,
Los buenos artistas logran algo m¨¢s que hacerte mirar: te hacen pensar. Al igual que
curiosidades adquiridas en el famoso mercadillo callejero que estaba a dos calles de su estudio
los escritores de Okri, la cuesti¨®n no versa sobre la fama o el dinero, ni de perseguir los
en Londres, en Notting Hill. Son las piedras de toque que estimulan su mente cuando est¨¢
caprichos de la moda. Sino de escavar profundamente en uno mismo para crear un trabajo que
trabajando hasta tarde en la noche, en jornadas de doce horas, acompa?ado por un puro y
resuene, no s¨®lo dentro de nosotros ahora, sino tambi¨¦n de las generaciones futuras. Uno de
m¨²sica.
esos artistas, de los artistas que resonar¨¢n tambi¨¦n en el futuro, es Pedro Paricio.
La escogida apariencia de Paricio es una met¨¢fora simb¨®lica de su obra: cada pieza de
Desde que lo conozco, he visto crecer su trabajo a trav¨¦s de tres exposiciones: Master
ropa la elige con cuidado y por un motivo. En esta nueva fase, el uniforme de chaqueta, corbata
Painters (2011), Diary of an Artist and Other Stories (2012) y Shaman (2014). Ha sido un placer
y sombrero negro que aparece en tantas pinturas anteriores, ha sido reemplazado por una
verlo pasar de promesa en 2011, cuando fue elegido por Francesca Gav¨ªn como uno de 100
simple camiseta blanca y pantalones vaqueros. Tambi¨¦n ha dejado crecer su cabello rubio
nuevos artistas a tener en cuenta,? a convertirse en una voz acreditada dentro del arte
rizado. El sombrero lo abandon¨® para siempre despu¨¦s de una pesadilla en la que comprendi¨®
contempor¨¢neo.
que era hora de dar un paso adelante. El nuevo Paricio aparece sobre los hombros del antiguo
en la obra Builders (p.10) y de nuevo, esta vez solo, en Analogic Man (p.48) donde est¨¢
Esta nueva exposici¨®n, Dreams, no es s¨®lo la cuarta de Paricio con Halcyon Gallery,
rasgueando su guitarra.
tambi¨¦n marca el quinto aniversario desde que el artista se convirti¨® en la incorporaci¨®n m¨¢s
joven a la galer¨ªa que lo representa. Adem¨¢s abre sus puertas cuando aun tenemos fresca en
la memoria Elogio de la Pintura, la reciente gran retrospectiva que el artista tuvo hace unos
mese en el TEA.?
Shaman fue un salto adelante en confianza y madurez respecto a Diary of an Artist and
Other Stories, y con Dreams Paricio completa plenamente otra nueva progresi¨®n, la cual a su
vez tiene su origen en Shaman. Pero si Shaman era una exposici¨®n introspectiva, en Dreams
Paricio mira hacia afuera. Gira el espejo para apuntar ahora su mirada hacia nosotros.
En un momento de incertidumbre global y migraciones masiva, este nuevo trabajo
versa tanto sobre la humanidad como un todo como sobre la libertad del individuo. Esta es la
serie m¨¢s pol¨ªtica de Paricio hasta la fecha y tambi¨¦n la m¨¢s oscura: los temas incluyen, entre
otros, la guerra, las pandillas y la actual crisis de refugiados. Algunas de las piezas como
Realpolitik (p.44) y Youth (p.28) son casi siniestras, pero el humor y el optimismo las traen de
vuelta del abismo. En Bonnie & Clyde (P.32) todos los sue?os de libertad que jam¨¢s podr¨ªas
desear quedan atrapados en los pu?os apretados que gu¨ªan la ametralladora. Sea cual sea el
sentimiento que la obra de Paricio despierte en ti, nunca sera de indiferencia.
"Cuando yo cambio mi arte tambi¨¦n cambia", dice Paricio, ¡°cambio para mantener mi
arte vivo. Hay artistas que hacen los mismo durante cuarenta a?os, pero a mi eso no me
interesa porque me gusta experimentar y evolucionar. Esta nueva serie es diferente pero
tambi¨¦n igual. He introducido todo lo que he aprendido en los ¨²ltimos diez a?os¡±.
Celebra esta libertad en dos pinturas: Mount Neriton (p.24) y Lazarus (p.18), quiz¨¢s las
dos piezas m¨¢s personales de la exposici¨®n. Neriton, seg¨²n la Il¨ªada de Homero, es la monta?a
que domina la tierra de Ulises, ?taca. S¨ª hubiera algo en com¨²n entre Tenerife e ?taca, entonces
esta pintura trata sobre el regreso a casa.
Paricio es "un gran gran rompecabezas con muchas piezas", y para perpetuar la brega
interna solo necesita algunas cosas simples: tiempo, libertad, naturaleza y, lo m¨¢s importante,
la familia. El arte que crea tienen su origen en un lugar tan profundo dentro de ¨¦l que a veces ni
siquiera sabe completamente que es y de donde viene. Me imagino a Paricio flotando entre las
nubes con sus ideas y los artistas a los que admira. Con una cinta atada alrededor de su tobillo
que baja serpenteando hasta el suelo donde est¨¢n su mujer Elena y su hijo Theo. ?l es capaz
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