CRESPI I ALEMANY
Maria de la Pau Janer
is converted into the real protagonist. This protagonist is embodied in the concentrated force, in what captivates our look, in
what surprises us with its intensity. The colours are broken over the canvas. They fill it with flecks that are never the fruit of
chance but of an intelligent hand that moves with skill across the canvas, that understand the combination of tonalities and
plays with a great capacity for surprising us. Thousands of brushstrokes are combined with magic and judgement.
An object stands out against a background that is an explosion of colour. An object that represents an entire world of references
which hides a story that the painter envelopes in an explosion of light.
At times it is a musical instrument. Guitars, pianos, trumpets, flutes and violins are forthright and yet blurred presences.
Instruments abandoned on the canvas as if someone had left them to evoke melodies that accompany us to the heart.
At times these are animals that stand out from the background of the picture and that exert a magnetic force. There is
the Ibiza wall lizard that evokes Formentera for us, where they blend into the rocks of the beaches. There are the splendid
cockerels which offer arrogant or more pensive outlines. On other occasions they are objects evocative of the universe:
the bicycle, the symbol of childhood freedom, of youth at the crossroads in the form of rivers; the rocking chair where
on so many occasions we have relaxed, as we reflected on life; the table laid, with the jug of cool water and the glassfuls
inviting one to quench one’s thirst; the basket full of fruit, an invitation to partake in the pleasures of life, to take a
mouthful of what is offered; the cluster of tomatoes on the vine, the artichokes, the lemons or the references to the meal,
a pleasure of the senses and also of sight.
Guillem Crespí Alemany plays with the forms of plastic and figurative expression; he has mastered how to render them
indistinct, to blur them, to mix them in a decoration of colours. This combination of concrete and abstract forms serves
to emphasise them all, to accentuate their expressive force. Nothing is absorbed but rather intensified. To this end, he
reveals to us the magic of the open and yet subtle evocation starting from an object, disordering a thousand times the
surface of the painting in order to compose it again with an authenticity that ends by moving us.
GUILLEM CRESPÍ ALEMANY, THE ART OF COMPOSING AND DISCOMPOSING COLOURS
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