Miguel Ángel Molina (Madrid, 1963) is one of those cult artists, far from the media and far from passing fashions.
Accurate in his style, he will soon question the tradition of painting to claim its condition of idea, trying to go beyond its vertical character and looking for its debate, its criticism.
This flirtation with the limits of painting will lead him to find in the same pools of paint in his studio a true extension of the painting, seeking the physical presence of painting as an entity.
The context thus becomes content and, as Brian O’Doherty lucidly stated, a peculiar inversion, the object introduced in a gallery “frames” the gallery and its norms.
Miguel Ángel Molina is interested in everything that overflows. The error, the uncontrollable, thus becomes the protagonist and serves as an excuse to rethink the meaning of painting, of its successes and failures, of how we perceive it and why it continues to be painted.
David Barro about Miguel Angel Molina