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Pintarradas

To produce his impressive portrayals, he uses nothing more than a simple evocation of forms: sometimes just the abstract purity of geometry, its webs and tangles, its bars, squares and checkerboards; sometimes suggesting to us the outline of certain presences that dream amid reality.

With four pieces he places us, for example, within a double skin; that of the lone animal, a pure gaze without eyes, full of sentiment – that sentiment that the eyes of the dog know how to transmit, like little forces of nature – and also that of the man, alone, who looks.

To sum up, the Jorge Rando that appears now with his paintings on paper comes from far away. After the bicycles, the groups of humans, the horses and their vitality, the goats, the children, the woods as painted by children, come the dogs with this mild and domesticated wildness, this fully human solitude, and the freedom of oil paint upon the paper.
Why Pintarradas? Because I call this form of expressing myself my Pintarradas. Because something new comes from the old. Because if there is no dawn, there is no new day Because a new word was needed for a new form of painting.
Jorge Rando

The look

Analysis of the work

Ante las Pintarradas de Jorge Rando Diálogo entre Jorge Rando y Carmen Pallarés