Early in my career, I painted with a rough, gestural brushstroke. My concern became to moderate the yearning, expressionist tendency by introducing a calming element. Unsuccessful in this attempt, I began using boundaries between colors, changing how I handled the background.
Soon figurative qualities disappeared from my work. I began to focus on areas of great interest to me since that time: space and its order. Generating new forms through drawing and color became my new focus.
Seduced by Minimalism, I began reducing the number of elements in my work. My primary goal was to reduce human traces as much as possible, so that the remaining forms would speak for themselves. The resulting painting had to be self-sufficient.
I use more traditional drawing techniques—perspective and the simulation of space—to create tension, unsettledness, the sensation of volume and, on occasion, ambiguity. My concerns come from within—my paintings lack any ideological or narrative aspects.
Regarding color, my aim is to be austere. The majority of my works involve only two colors, interacting over a neutral background, which I have named “no color,” which tries to be empty or silent. To do this I use gray or “dirty” colors, or even the unpainted substrate.
It could be said that I find myself anchored in a “there-and-back” state of minimalism. Reducing the number of elements involved in my work does not mean negating the qualities of painting. It is important to be concise, but also to be generous.
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email Vítor Mejuto