Navarro’s work knits together references to the organic with a kind of computational allegory, where the physical and the object are literally veiled behind a white surface that decomposes the pattern of the grid.
Fernando Castro Flórez (Art critic), 2019
Considerations on the gestural friction in Adrian Navarro’s paintings
Adrian Navarro’s latest paintings are made in two times: in seeking lightness over density, he builds up highly chromatic, gestural and ‘atmospheric’ backgrounds onto which he later superimposes a white circled grid, a veil that far from concealing aims to generate ‘mystery’. […] Navarro’s work knits together references to the organic with a kind of computational allegory, where the physical and the object are literally veiled behind a white surface that decomposes the pattern of the grid.
In this fascinating gestural and digital superimposing, Adrián Navarro creates an imagery that seeks both harmony as well as conflict. In his most recent work the grid is somewhat torn and, worth the paradox, making the abstractions reveal their potential illusion. If the grid appears to be actual sweeps of paint, sometimes in a richterian manner, the truth is that in Adrian Navarro’s work there is no room for chance; the grid that covers the background has been printed turning it into something akin to the trompe-l’oeil. We are then in front of a simulacrum of textures that defies haptic vision […] The artist himself states that in his paintings there is something similar to a ‘volcanic interior’ that he indeed puts in relation with the virtual world.
Adrián Navarro is quite sure that we live in an age dominated by the fury of images, a time when dystopias like the ones describes in Black Mirror end up being confirmed in our daily lives. Against a world ruled by viral banality and the pornography of images, this painter proposes an aesthetic of the veiled, assuming that pleasure usually resides in complexity. […] Adrián Navarro underlines that his paintings do not have a ‘total reading’ meaning that he invites us to inhabit a vibrant surface, going through the illusion of the gestural-digital layers.
* Excerpts from the original text "Fascinating veils [Preliminary considerations on gestural-digital friction in Adrian Navarro's painting]", by Fernando Castro Flórez (Art critic), 2019
Adrián applies his training as an architect and embraces the study of structures in his work, which have no beginning and no end, in which we have confined ourselves: networks, screens, message walls, successive chains of signifiers, all more or less sophisticated and, at the same time, more and more opaque.
Karpov Sherlby, 2018
For Adrián Navarro the purpose of painting is to solve problems.
Problems pertaining to composition, colour and procedure but also to the place human beings should occupy in today’s world.
Therefore, Adrián tries to construct his painting by asking himself which space corresponds to us in a world that is constantly overwhelming us with a torrent of fragmentary images, bereft of meaning and more and more aggressive and harmful for liberated and active human beings.
In response to this question, Adrián applies his training as an architect and embraces the study of structures in his work, which have no beginning and no end, in which we have confined ourselves: networks, screens, message walls, successive chains of signifiers, all more or less sophisticated and, at the same time, more and more opaque.
In conjunction, he has recourse to the craft of painting to capture the dark throbbing creature writhing below these confines and that the full screen barely manages to contain. It falls to painting to try to explain the abstract form of this shadow that threatens, with its corrosive eroticism, the sophisticated castles erected around us, built out of filaments and fibre glass.
Man and map in conflict, therefore, locked in a dialectic that machines will never manage to reflect as accurately as brush on the canvas. For good reason, this is the seismograph given to man at the dawn of time to identify the scope and depth of his anguish.
Precisely because it reflects his problem-solving vocation so faithfully, Navarro’s painting exhibits the lucid, serene, balanced palette of somebody who has spent his life looking at art; but also, the acid, terrible, wild coloration of someone who lives fighting with painting to win the title of painter every day he walks into the studio.
We are looking at pictorial integrity, which asks if the second path indicated by the French poet is still possible today.
Far from being a port of arrival, the fascinating artificial paradises that Adrián Navarro proposes extend the landscape and invite us to seek out new pathways, new topographies and maps that call into question the road maps thrust on us so fervently and insistently by today’s world.
* Karpov Sherlby— Adrián Navarro: Paraísos Artificiales — Madrid, 2018