Room 5

The paintings in this room have a dual common denominator: the powerful material presence of the works, both pictorial and sculptural, and the equally intense evocative power.

La Ventana, 1963, is a striking material work in wood, the characteristic material of the plastic production of its creator, Lucio Muñoz. The tortured treatment of the material transforms the “eyes of the house”, represented by the windows, into dramatic openings in which the light remains gloomy. Homenaje a Pastora Pavón was created by the same artist between 1969 and 1970 after the death of Pastora Pavón, nicknamed “The Girl of Combs”, an emblematic flamenco singer. The colour and drawing acquire even greater prominence, while the material/wood remains on a plane adjusted to the figurative order.

Anatomía para un Espejo, by Manuel Rivera, a work from 1972, illustrates the use of wire mesh as a key material in his work. By superimposing this mesh, the viewer's movement generates optical moiré effects reminiscent of the foundational illusion of mirrors. The peculiar axis of symmetry is drawn in two parts, inaccurately divided but clearly symmetrical, evocative of a warrior's breastplate. Once again, the abstract matter remains figurative.

The 1977 sculpture named El viento: Laberintia II, by Martín Chirino, is an impressive wrought iron bar twisted into a spiral as if it were a piece of thin wire. The useful changes in plane and curvature enhance the double twist of the spiral as an organic form of growth and expansion, or centripetal recollection, depending on how you look at it.

The 2021 work Mentidero, by Fuentesal and Arenilllas, ends this set of dualities, of double meanings, of expressive and significant possibilities that, beginning with the material itself, delve into the vast territory of interpretation, of the symbolic dimension of all human production.