Contemporary Painting: Pedro Estelrich

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Text de M. Àngels Canut

the catalog of contemporary painting artist

Pedro Estelrich

Graphic Andorran, 2004


Pedro Estelrich












Pedro Estelrich Rifà

(Barcelona, 1962)

At first glance, painting offered Pedro Estelrich may seem heavy and dense, however, in approach, we feel the warmth spread from a fall palette dominated by browns, the range of sienna and white, an itinerary for colors and textures that are opposed to boldly colorful brushstrokes. Gestural brushstrokes adds wit collage. An assembly can not avoid the profession of artist antique restorer, as well as the vocation of collector and passionate about archeology.

In the late seventies embodied, in the watercolors of his youth, the essence of the Mediterranean world: Majorcan landscapes made from an open chamber above the sea Can Picafort, a vantage point from where he studied light and color prints after his works, on the terra, sea ​​and sky merge in perfect harmony without sparing no noticeable brushstrokes, and wide dynamic.

Peter Estelrich enceta, the eighties, a more introspective phase, intimista i barroca, in search of a particular universe. Includes maps paintings using the technique of collage, to meet a benchmark; blacks become more important. In the same work can combine painting, the found object, rough texture and outstanding, holes as cratered as the most rugged cliff, to give the painting a sculptural relief of nature. The assemblage as a vehicle of expression is crucial at this stage. The colors used are preferably dark. Sometimes, varnishes dripping body take over the work in a controlled setting and neglect, same time, historical reference incorporated elements of his workshop restorer --trossos centuries clothing and bedding of an old convent of Poor Clares of Soria, fragments of Roman pottery from distant lands, collector’s fetishes‑‑ that make up the material painting of a period of pictorial consolidation.

In this new exhibition, the artist shows a selection of work done the last four years. The drawing takes greater relevance, clarifies and tones of autumn are, ultimately, enrichment color that gives the work a glimmer of optimism. Natural and synthetic resins will become part of this painting combined. Following stays Garrigues, begin to tax the light and the heat transferred to the work of the land. Even rediscover the enthusiasm of the issues the first time, frequent windows, rediscovers the places she knows and loves -Non houses Cervià, port of Cala Ratjada, Can Picafort‑‑, i la poetry Person, an extension of the thematic repertoire.

This is an experimental painting consists of a complex mixture of feelings and impulses, feelings contents, reflected strong feelings on media, recycled wood: chopsticks. Nothing is incidental to the work of the artist. The support has not been chosen at random, nothing more than a pallet transportable and resistant to fill it with the weight of all the emotional and creative work expended in each. A receptacle where the content is stored with balance and measure.

The work carried out by Estelrich is broad and thorough, nothing falls into oblivion when constructing a box: the theme, pigments and materials that comprise, support, framework that builds himself crossing, sometimes, naturally aged wood to the passage of time or outdated windows. Un Tito enginyós, ironic and tripped ends each work.


M. Àngels Canut

Art historian

Barcelona, April 2004