This section offers a selection of program exhibitions related to the phenomenon of post-conceptual Figuration, accompanied by a data sheet and a selection of works presented and the participating artists, accessible via an alphabetical search. The addition of new contents will be on-going.
ÁNGEL MATEO CHARRIS
Lives and works in Cartagena
Linked to the neo-metaphysical painting resulting from his participation in the El retorno del hijo pródigo (The return of the prodigal Son) exhibition. Linked to the Galería My Name’s Lolita Art. Since 1995 directed from Cartagena La Naval project, along with Gonzalo Sicre and the arquitect Martín Lejárraga.
Ángel Mateo Charris recreates in his pictorial, literary images and parallel worlds where he reflects on the issues that inspire him. Visual essays that recreate imaginary spaces, such as Charrilandia or Republic of Cartagena, articulated through the metaphor of the journey through exotic, desert or polar landscapes.
Charris cultivates an aesthetic based on the paradoxical crossbreeding where keys from Hopperian metaphysics pre-dominate a surreal, more hilarious or appropriation of pop art. His complex iconographic repertoire has a postmodern character resulting from cultural greed and interest in the image, popular or cult, from any film, literary, artistic or media sources.
The construction of his paintings is based on the technique of collage and poetic aphorisms. By digitally assembling concepts and visual elements, he creates mock reality in the provocative images presented in his work. The influence of Ramón Gómez de la Serna is manifested in the use of a methodology similar to that developed in his aphorisms, intending to express through the union of humor and metaphor thoughts of any kind. In his paintings, he experiments with registers as diverse as irony, emotion, enigma, genius, the senses, the lyrical or customs.
Charris, in his themes, devotes special attention to the reflection on the evolution of twentieth century art and certain matters of political importance, such as power, war, colonialism and cultural appropriation. The admiration and irony are present in the carrying out of his tributes and quotes of artistic references that have exerted greater influence on his creative development. Some keys the artist points out through the contextualization of elements of his own iconography. Standing out among them, Edward Hopper and his world, with which he has expressed a spiritual harmony. His paintings however, are also the subject of idolism and the oversight of artistic practice and its history, especially in matters related to the art market of today and its rituals.
Among the pictorial references the following painters are highlighted: Edward Hopper, James Rosenquist, Salvador Dalí, Magritte, Leon Spillaert, Walt Disney or Herge.
Consulted bibliography: Levin, Gail, “El mundo de Ángel Mateo Charris”, Huici, Fernando, “El hombre que sabía demasiado”, Bonet, Juan Manuel, “Arte y literatura: el caso Charris”, in the exhibition catalogue Charris, Valencia, IVAM, 1999. Bonet, Juan Manuel, “Charrilandia (breve guía)”, in the exhibition catalogue Charris se va a Columela. Charris go to Lolita, Madrid-Valencia, Galería My Name’s Lolita-Galería Columela, 1991
Mateo Charris > SELECTED Works
Observatory > Artist