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