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Nicolás Bedel Atramentaria


Nicolás Bedel’s paintings are a permanent tribute to his two greatest passions: nature and pictorial technique. His landscapes, seas, galaxies and cosmos appear to be real but not in terms of hyperrealism but in a sensorial level where one gets allured by them, something similar to an oneiric stage that is presented to us and suddenly "we are there”, living the works from the inside to the outside and it seems for a moment as if we had have entered another dimension. In what is referred to technique, Bedel has a unique one, a creation that is born from the combination of the most traditional ways of painting and from the most revolutionary experimentation on this discipline; a mix of photoluminescent pigments, pharmaceutical ingredients and traditional pigments and lacquers that he works with a classic paintbrush but also with torches, syringes and secret tools. The combination of all these elements brings off a picture rich in layers and reliefs, and because the resin gets blended with the paint the artwork obtains different dimensions and at the same time the effect of the layers creates, according to the point of view of the spectator, a work with different elements that appear or fade away and colors that change depending on the position from where the artwork is looked at. Years ago the fluorescence came into his paintings. This is a light phenomenon in which the material has the power of absorbing the energy and saving it in form of light then to radiate it again. Thanks to the property of the photoluminescent pigments he works with, natural or artificial light is absorbed charging them up and then revealing a great variety of colors: green, blue, red, orange and pink, turning the light into another element of the artwork. We can only imagine what happens at his studio but it seems that there always occurs something of alchemy or magic that we cannot reach. Domitila Bedel & Fresia Carnota


The surprise of amazement Julieta Bliffeld The experience that creates Nicolás Bedel’s work is really unique. And although it results redundant to talk about the singularity to which it exposes us, it is truly, undisputable. Then I ask to myself, what does these paintings produce to me that at a first glance I only see nothing but amorphous masses? I’m slow finding a feeling. I pass from misunderstanding to uneasiness and right from there to fascination because Bedel, with an unique and impeccable technique, which best virtue may be to be present without being present, reveals to us what we doesn’t see most of the time, those things, as his brushstrokes, that are but are not. Bedel’s paintings refer to the origin in multiple ways. And the multiplicity is not only on the topics: the universe, the bottom of the sea, nature in general; but also and mainly in what results from the use of photoluminescent pigments that get charged with light and reveal their shine in the dark. In that way, in the daylight we face to an artwork that later, when the light is turned off, is totally different. This experience multiplies exponentially the reading of the works because depending in how many and which pigments got charged, they will show every time that we stand in front of them different illuminated figures that modifies the totality. Bedel lives most part of the year in Uruguay, at the shore. These paintings were made in Aiguá Partido de Maldonado and maybe is this confluence what gives him the authority to come and fill the emptiness, to represent what overcome and wonder us at the same time, as if the origin results as a mystery to everybody but himself. This is how I go through, seeing small golden dots that grows as fractals inside infinitive circles, I think about the Big Bang, in pieces of matter disintegrating then forming our galaxy; later I pass to another series and I feel, through his technique complexity, the marine coo, that sound that can be heard weakly but constant as in the empty seashells, and I also discover the unicellular organisms that were the origin of all species. Bedel takes us from one stage to other, naturally, softly. The chain takes me to a brave volcano that at the same time is a nearer reality, more tangible. I get excited with the tiniest details, those that we know that show the uniqueness of the artwork, that reveal Bedel’s ability to lead us to what we can understand. Then, when I thought I’ve seen it all, the light turns off and the paintings reveal their other self. Dancing fluorescent silhouettes, proving that all the worlds have their B-side, beautiful and sometimes damned. Amazed by my own amazement, I conclude that Bedel reaches the ineffable and that his work seems to do an eco of what Nieztsche said in The will to power “Of what is great one must either be silent or speak with greatness. With greatness: that means cynically and with innocence”.


 

Atramentaria I (Light and dark) 2013-2014 Photoluminescent pigments and resins on aluminium panel 67 x 50 cm


 

Atramentaria II 2013-2014 Photoluminescent pigments and resins on aluminium panel 67 x 50 cm


 

Atramentaria III (Light and dark) 2013-2014 Photoluminescent pigments and resins on aluminium panel 67 x 50 cm


 

Atramentaria IV (Light and dark) 2013-2014 Photoluminescent pigments and resins on aluminium panel 67 x 50 cm


 

Atramentaria V (Light and dark) 2013-2014 Photoluminescent pigments and resins on aluminium panel 67 x 50 cm


 

Atramentaria VI 2013-2014 Photoluminescent pigments and resins on aluminium panel 67 x 50 cm


 

Atramentaria VII 2013-2014 Photoluminescent pigments and resins on aluminium panel 67 x 50 cm


 

Atramentaria VIII (Light and dark) 2013-2014 Photoluminescent pigments and resins on aluminium panel 67 x 50 cm


 

Atramentaria IX (Light and dark) 2013-2014 Photoluminescent pigments and resins on aluminium panel 67 x 50 cm


 

Atramentaria X (Light and dark) 2013-2014 Photoluminescent pigments and resins on aluminium panel 67 x 50 cm


 

Atramentaria XI (Light and dark) 2013-2014 Photoluminescent pigments and resins on aluminium panel 67 x 50 cm


 

Atramentaria XII (Light and dark) 2013-2014 Photoluminescent pigments and resins on aluminium panel 67 x 50 cm


 

Atramentaria XIII (Light and dark) 2013-2014 Photoluminescent pigments and resins on aluminium panel 67 x 50 cm


Bio Nicolás Bedel was born in Buenos Aires, Argentina on October 30th, 1974. Painting forms part of his life since he has memory. He achieves an Architecture degree by the University of Buenos Aires and he also was a painting professor. In 2004, he was cofounder of the group "Orgánico", collective integrated by multidisciplinary artists that included the legendary Clorindo Testa, with whom he exposed at Centro Cultural Recoleta. Since 2005, Bedel splits his time between Buenos Aires and Uruguay, where he spends months researching and developing his artworks. There, he carries out individual and group exhibitions in different spaces achieving his work to be part of important national and international collections. In 2011 he presented at Galería Dabbah Torrejón the individual exhibition "Micromegas y Macromegas" and the group exhibition "Cachorros" at Galería Miau Miau. Early 2012 he travelled to México to paint a mural and on November 2012, he opened "A un millón de años luz de casa" at Galería Machete in collaboration with the artist Ivana Brenner. "Tonta Luz" was inaugurated on June 2013 at Slyzmud, Buenos Aires, Argentina; and on February 2014 he opens his second exhibition, "Atramentaria", at Galería Machete, Mexico City.


 

More info about the artist: www.nicolasbedel.com www.cargocollective.com/bedelnicolas http://issuu.com/obermedia/docs/nicolas_bedel More info about the gallery: www.macheteart.com machete@macheteart.com


Dossier nb atramentaria ing