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José Antonio Redondo Pino.Student of the visual poet Jordi Vallés, He receives classes from Mª Dolores Colazo, Assistant Professor of Visual Composition and Photographic Design from the University of Avellaneda. He is a member of the ES23 group. He collaborates with Editorial Castellnou as a freelance photographer and with the Columbian artist Yolanda Botero. He has exposed individually in the Pati Llimona exposition space (January 2009), in Cincómonos (june 2009) and in Transforma (June-July 2009). Art & Marc ( September 2009). He has works which are in various private collections. Now working in a new exhibition at Taranna and ArtNights.
Surrealism seduced him from his beginnings, bringing him to flirt with inspiration produced by artists like Dalí or Max Ernst. In this moment he creates Works like “La Cuadratura del Azar” (The Squaring of random) or “Mantis especultiva” (Speculative Mantis), where apparently unconnected elements wander around the compositions like authentic urban fantasies. The photographer, though, goes beyond that and he enriches his works with absolutely contemporary meanings, like real estate speculation, isolation or the importance of luck in the development of our lives.
Psychological introspection is another of the interests of J. Antonio Redondo which he reflects with mastery in the mannequin series. Can we feel observed in the anonymity and the indifference which the big city contains? This is the idea with which the artist plays to offer us works which reflect the human soul with the same precision as that with which they reflect the traffic signs or the lights of the city.
The vitality of this artist with a restless spirit brings him to explore without rest the different possibilities of the photographic fact. Fleeing from stylistic fossilization, his visual hyperactivity leads to the various lines of work which he is developing at the moment. On one hand what he himself calls “neurocolor”; in other words, the destruction of the shape to achieve a perfect symphony of color which reaches our brain directly, without interference. We see this in works like “Paseo por el Gran Cañón a la hora violeta” (Walk through the Grand Canyon at the violet Hour), “Pórtico”(Porch) or “Huracanes en el alma” (Hurracanes in the soul). On the other hand there is the search for visual metaphors and polysemies, with which he likes to play, as in “Sueño del tiempo abolido” (Dream of abolished time), where elements alien between themselves create a composition full of lyricism; a work in which we once again see an allusion to surrealism. This will be, therefore a recurring theme in the production of a photographer with a restless and disquieting eye, who knows how to look rightly at the indispensable part of dreams.
M.Isabel Martínez Murcia Art historian Colegiada núm. 33303