LA PERTINENCIA DEL BORDE
Back with the paintings, those rectangles that hang on the wall as Donald Judd used to say, the question of the limit, of the edges or border allowed me to get out of a certain binarism or structural dualism. If in cinema or photography, the frame produces an effect of champ and hors-champ, in painting the edge of the canvas can constitute a territory shared, at the same time, inside and outside the artwork.
M.A.M (Miguel Ángel Molina) presents his newest body of work this September at Alzueta Gallery’s Madrid location.
For more than twenty years M.A.M (Miguel Ángel Molina, Spain, 1963) has been working on the development of the possibility of the existence of painting outside the limits of the work. Being a painter and not painting pictures seemed, at the end of the century, to be an encouraging challenge. Today, the artist considers these displacements as attempts to leave one space to enter another… Same but different.
This series of work continues to dig deeper into the conceptual ideas M.A.M has been developing over the years and shows the artist’s strong connection with the importance of the surface of a painting, its territory and support, as well as their contained materials. Miguel Angel Molina’s work explores how to go beyond the image itself in order to find new interpretations in what is often an abandoned territory.
To work on the margin, on its thickness, on its perimeter, is to understand the painting as an object through which a well-known historical and symbolic regime is understood. The painting is the materialization of the devices of vision that remain in force through the screens. It is curious in fact that the term “cuadro” (Spanish for a picture made only with painting matter) has no equivalent in English. “Picture” refers to what is painted on the surface and what we might call
an image, while “painting” designates the act of painting and by extension, the product of that activity. Nothing really that speaks of physical support.