Connecting with nature and with the processes governed by the laws of nature is an ambition in line with the “search for the essential” that defines abstraction. Observing and respecting the course of nature and exploring its huge hitherto unknown areas has encouraged and guided a great many artists.
Composición, 1977, by Eva Lootz, is a clearly procedural piece in which the properties of the pictorial matter and the drying time, in addition to the confidently determined will of the artist, result in a work of astonishing beauty, truly naked and pure. La flaque, 1989, by Miquel Barceló, is a magnificent example of matter made image, of image made matter. The watery quality of this work is surely due to a physical rather than an imitative process.
S/T (“Shore to Shore” series), 2017, by Moreno & Grau, is a photographic/sculptural diptych in which the image (in this case, the two banks of the Guadalquivir River) is inseparable from its material condition, from its sedimentary nature. It features a combination of several photographic images and the use of a resin that crystallises in the form of drops. Once again, time is a substantial part and is the protagonist, not only elliptical, of the work.
And, finally, the reflection of the museum in the museum itself: The Moon Museum, 2013, the work of Karlos Gil, is part of an ambitious art and research project based on a historical fact – just an artistic anecdote within the scientific display representing the conquest of outer space – to articulate a series of works exploring the relationships between art, technology and multiple associated derivations, the idea of a museum located on the surface of the moon, beyond our planet.