IÑIGO NAVARRO

If there is something we appreciate in the work of Iñigo Navarro (Madrid, 1977) is that it allows one to establish one's own story. His work is an invitation to the viewer to imagine the circumstances, the before and after of the scene, the reason for the masks, whether they are disturbing or amusing, whether the forest is threatening or welcoming.

His work offers an exceptional quality in contemporary art: its ability to envelop the viewer in a certain mystery, to immerse him in a world based on magic. It provides a solution to the problem that all figurative work usually entails when the transcription it establishes of the real blurs our gaze and prevents us from perceiving the enigmatic. In the work of Iñigo Navarro, on the contrary, an extra-ordinary condition permeates his art, which allows him to deal with the question that worries the figurative artist: what to bring new, how to transcend what has already been painted, sculpted, done so far.
This search cannot be intellectual, let alone conceptual. In order to attract the viewer who is tired of images, Navarro uses playfulness with a sure technique, a certain naivety that awakens our imagination, and recreates us in the freshness of a mystery to be deciphered. If there is still a child in us, however hidden it may be, Navarro rescues it, and laughs at its side.

This quality comes from a well-founded personal philosophical stance and an intimate understanding of the creative act. It is expressed through a painting technique that is knowledgeable and respectful of the Spanish masters. The use of noble materials such as oil, wood and bronze are the appropriate support to crystallize these ideas.

In short, if a pictorial work could capture the literary universe of magical realism with the appropriate quality, this work would be that of Iñigo Navarro.

EXHIBITED WORKS:

- A spring in the forehead, 2024