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COLOMINA Jorge

 

Ref. 079.024
"Sari IV"
Oil on canvas
150 x 40 cm.
 

 

 

 

INFORMATION

 

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AVAILABLE WORKS


Jorge Colomina
Alcoy (Alicante) 1953.

Colomina, an astonishingly bold artista who lives and breathes painting. An avid, geneorus, powerful style that expresses the emotions of a passionate, spontaneous and multi-facetted self-taught painter whose Spanish roots run deeply through his soul and his paintings. Steeped in historical and cultural references, he brings both imaginary journeys and real-life experience to his reach palette.
Since childhood he has pursued his quest, constantly searching for new means of expression and new forms of creativity. Each season, in each new collection. Colomina’s signature style is both reborn and reaffirmed faithful to itself, and yet always different, with its overwhelming chromatic richness and its brushwork havering between the figurative and the abstract.
Today, after 35 years as an artist, Colomina has gained international recognition. His paintings, valued on the art marked, cross borders and form part of collections around the globe.
To enter the world of his outstanding artist is to discover his story, his aspirations, and his deeper self through his work, which we strives, above all, to make profoundly and powerfully alive.

Affirmation of a style
It begins with a line, then there is color. Generous curves play a vital role.
The composition, first worked out in his head, comes to life as soon as he begins working on the canvas. The hand becomes an extension of the mind; in direct contact with the medium, it is perfectly attuned to the original idea. “I know where I’m going, my brain provides the impulse, my brushes transfer emotions onto the canvas without betraying them”.
But is it the hand or the emotion that’s in charge of the process? It’s a mysterious combination of the two, call it intuition, if you will. Colomina is entirely self-taught: he never went to art school, following instead his own initiation process: one of observation, hard work, and years of practice. He developed a form of untrammeled gesture that has given him great freedom as a painter. His brushstrokes are powerful, forming soaring arabesques. He says he leaves perfection to others. “Drawing is a technique : painting is a matter of taste. Drawing is premeditated, colour isn’t. It must be happy”.

Childhood memories. . .
Colomina’s earliest memories go back to 1957, at the San Jorge Festival in Alcoy, the town where he was born in 1953. The celebrations, parades, and fireworks, the explosions of colour, the clowns and the suits of light were sources of wonderment for him as a child; they were also the first inklings of a life devoted entirely to colour.
In 1963 his family moved to Paris and he discovered de City of Light with a schoolbag on his back. School lessons and visits to museums gave him his first thrilling encounters with painting, and he soon began to draw. With passionate curiosity, he practiced with crayons and brushes, experimenting over and over again in sketches and paintings, learning in complete freedom, guided by his passion.

Though classed as “abstract-figurative”
The subject is recognizable in Colomina’s work, and abstraction plays a relatively minor part. The artist stops at the frontier between the abstract and the figurative to deliver his message. Full abstraction, “as seen in the work of Soulages for instance: the apparent simplicity of a single colour, its effects of shade and light that reveal all colours in one”, can wait until later.
Boldly and with an expert eye, the artist coordinates the colours as he builds up his paintings. His palette is always carefully thought out: it aims at balance and consistency, but also admits combinations that some might find daring but which are natural for Colomina. He does not practice shading, preferring boldly separate colours. He wants colours to come alive, playing with their vibrancy and creating stunning contrasts, but he always chooses them very carefully so that they echo the subject in hand. They form an X-ray of the faces and bodies he brings to life on the canvas.

Key influences
“I’d like to be able to draw like Dalí, paint like Van Gogh, and be as creative as Picasso”.
Colomina discovered Van Gogh when he was fifteen. He was struck by his technical mastery, and the textureand  depth of his painting. He tried to paint straight from the tube, spreading out the paint with broad gestures of the fingers, enjoying the sensuality of the canvas. With or without brushes, he continued his search for a medium, mixing oils and pigments and building colour into dense. Thickly contoured layers.
Another figure he deeply admires is Picasso, whom he discovered at the age of twenty. At the time, when people criticized him for making excessively obvious references to Picasso, he was flattered. He thought of Picasso as a forerunner: not only the inventor of Cubism, but also a prodigiously creative individual who acknowledged his own debt to Velázquez and Goya. “The role of an artist is to perpetuate artworks, not to copy them, but to appropriate them and impose his own way of seeing”. So Colomina began to deconstruct the human face, splitting in to multiple facets and playing with geometric forms.
Matisse was also one of his masters, whom he particularly admired for his mastery of line, not only in his painting but also in the cutout collages he made later in life.

Inspiration for a new collection
“Producing a new series of paintings, looking for a theme, or rather a form of consistency… I compose using a single palette. It’s like a parade… with references to a period, or more to a particular moment… the instant when I do it”.
For each new collection, Colomina combines different materials (inks and oils, inks and pastels, etc) according to his feelings and depending on the subject he is dealing with. Always on the move, now internationally acclaimed, he never ceases to surprise us with the richness and diversity of his work. He develops his own painterly language, adding new variations in vivid reds and yellows before returning to organic hues. The full scope of his chromatic generosity can be seen in his ‘set-piece’ paintings, in which characters and settings produce powerfully evocative atmospheres. The artist tells us his own stories, with the painting acting like a still shot in a movie, although it is never quite frozen: he leaves us free to imagine what came before and what will follow. Movement and emotion are everywhere in the painting’s criss-crossed lifelines. As we look at a Colomina painting, we “feel” the subject as a real person: it’s always flesh and blood, even when it appears more abstract. The experience is always one of sharing, of interaction. And then there are the round, startled-looking eyes: beckoning or introspective, always questioning.

Recurrent subjects:
The female form

Women have been an inexhaustible source of inspiration and form a major part of Colomina’s work. The reason? Simply that he loves them. He teases and tickles his muses with his sensuous brushes. Curvaceous forms in languid, suggestive poses are decked out in incandescent hues, without a trace of false modesty. The variable geometry of his compositions brings breasts, buttocks and curves alive on the canvas. Never quite the same and yet never quite another, Colomina’s woman sparks the desire of her creator, who brings his most ardent fantasies into the very heart of his paintings.

Faces
Colomina
often treats faces more abstractly than figuratively, with the notable exception of his self-portraits. Almost geometric shapes evoke the construction of identity and personality: organic colours refer to the very fundations of who a person is; assertive brushwork symbolises character, a discreet yet ever-present “eye” that observes, studies, analyses and scrutinises.

Dance
An essential reference in Spanish cultura, dance is a recurrent theme in Colomina’s work. The frenzied or sensuous composition of many paintings evokes the tightly choreographed, powerfully physical confrontations of bolero or flamenco dancers.

Clowns
Because they are ideal subjects for paintings. They provide a wealth of color –except, of course, the legendary White Clown-. Their faces run the entire gamut of expressions: from infinite sadness to joyful smiles. They demonstrate a whole range of feelings, of masks, of appearances… and of secrets, too.

Bullfighting
Faithful to his Spanish roots, Colomina could hardly avoid dealing with his subject and giving his angle on a controversial tradition. There is no question of killing in his approach to the corrida: just the moment when the bull and the toreador enter the arena, bathed in light. The animal and the man don’t even necessarily share the same canvas: each has his own solemn moment, each his own representation.

 

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