Ángel Muriel and contemporary art: an interview in his workshop

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Angel Muriel talks about contemporary art and the work of the artist: enthusiasm and inspiration, and mostly the tireless work.

Inspiration is very important, but more importantly, we should die working.

It has been 40 years since a young, Ángel Muriel, exposed for the first time his work in his homeland, Cáceres.But, over time has not notched his spirit (courage, effort, intention, will, imagination, thought, …) that has still remained miraculously intact, despite the vicissitudes and dramatic events that have taken place, suffered along his broad eventful life.

Mature and mature from hour to hour, and then, from hour to hour as well, rot and rot until the end of the story.
Shakespeare

entrevista-angel-murielHe is forced to talk about his proverbial enthusiasm and admirable work that characterizes him. When it comes to enthusiasm, it refers to the expression of his soul-mind (soul). The enthusiasm translates into rage when the sibyls would announce their oracles. In enlightened fervour when it comes to the divine inspiration of the prophets. In inspiration snatched the writer or artist. In excitement and ardour of the spirit-soul produced by the admiration, and finally results in fervent adherence, but towards what? Evidently, in the case that concerns us towards the creation and the exercise of Art, forced, trade to which no can avoid a select few, who have been touched and stigmatized by the goddess Fortuna and have been bestowed (from the very moment of the “touching”) the gift and divine grace (sanctifying-gratifying) of the tracery. Our man is without doubt one of the elected, Ángel Muriel is stamped on the lining of his soul-mind the indelible stamp of the true artist.

Ángel Muriel opens the door to his study to us, his workshop, as he prefers to call it. A nice melody soundtrack sets the sound to the background of the interview … “I always paint with the help of the music, which is par excellence which is broadcasted through Radio Classic to which I have as inseparable and faithful companion. The music fills me with harmony and gives me the background necessary to abstract equilibrium and go on with my work. In me, the influence of music is such, that on the completion occasion one of my latest works, “Meninas sacred icon,” joined to it a very interesting piece of music that I ordered for the occasion by the reputable musician and contemporary composer Adolfo Nunez. The combination of image and sound was fantastic, says Ángel Muriel forcing a last smile.

Moreover, with music, books, I noticed a lot of them. Books which are not just about art, are filled and stacked around everywhere, some of them deposited on the ground temporarily, hoping to find a niche in the crowded bookshelves in the spacious workshop. On the drawing table, located in a corner, we see two: “Utopia” of Thomas More and “Praise of Folly” by Erasmus, our painter whose bedside books recently reads and rereads when he rests.

“I work tirelessly in the middle of a great solitude.” Picasso recommended, “We are obliged to work constantly,” adding that “inspiration is very important, but more importantly, we should die working.” For me, my workshop is everything, is a kind of monastery from where I barely leave. He tells us this surrounded by numerous objects, antiques, collectibles, memories that have been accumulating over time and have their own place, between, pictures, sculptures, paintings and paint brushes.

With the acclaimed painter and sculptor, Ángel Muriel, we inaugurated PLASTIKÉ ART GALLERY.

Watch Modern Art Exhibitions - Art Gallery Plastike - Angel Muriel

Recent Work

Ángel Muriel’s most recent work of art begins to see light in 2002 and the project continues to the present time frame fitting it all in a surreal context. These very complex compositions are expressed in wooden stands and large format canvases. The entire repertoire of images is the result of work developed over the last decade following the principles of the METHOD that Ángel Muriel discovered ten years ago and has since been applied rigorously.

Its principles were first outlined in 2003 under the title, “the expression of method,” in the Pollock-Krasner THE FOUNDATION, INC. from New York and Javier Rubio Nomblot refers to it in an article that serves as an introduction to the catalogue of the exhibition, “Reunion,” (Crosier gallery. Madrid. 2007).

Muriel speaks of the …,” this way of making or creating methodical, rigorous and systematic is unprecedented in the history of art. It becomes impossible for reasons of space-time to attempt the slightest approach to its principles; one can only point out that what makes it unique and important is that it allows for his “scientism,” a continued action, infinite, endless of what could be termed as an INFINITE PLASTIC CREATION mode.

Close to about 20 works of art, including drawings, paintings and sculptures, make up the collection that the artist will exhibit at PAG.

The meaning of his work: The theatricality

“The creative process is based on the frustration of the artist,” who is disappointed in the real world, is compelled to claim other than those known images, creating another view of the world as a visionary, is forced to discover, revealing a cosmos (different and new), which has nothing to do with the tangible and real that shuns.

J. Beraza Castro has defined his painting “as a key to some of life,” and we have checked it. The ultimate vision of life is that Ángel Muriel is stained with a deep pessimism. Sentenced that “life” is a tragicomedy in which each represents its own role (by force and to our grief) in a common scenario and one that is the “World’s Great Theatre.” This concept, “Calderon,” of life as a representation, as farce, permeates all of Muriel’s work of art. In regards to this, Cantos-Figuerola Ivan wrote, Ángel, armed with his paintbrushes, armed with sheets of newspaper, he speaks, and I think, of the excess, the shaving of the human tragicomedy. He speaks, in my opinion, of the fight, somewhat fatalistic, of the flesh against the Nothing, against aging and the expiration. In fact, the pictures appear to be Ángel Muriel’s personal fight against Fatality. They look like those images, visceral, and excessive, an accumulation of life, from Eros desperate life as an amulet, as a symbol facing a certain fact of death and the annulment. But make no mistake, this shield against the fatal vitalist invented, there is nothing sad, but it has a rather tragicomic background, a playful undercurrent and erotic that reminds us of that “Carpe Diem” of the Romans, which speaks of that “love and live the moment,” which the ancient spoken about that seems to have unfortunately forgotten.

Thanks for not letting us forget Angel’s life, that beautiful longing.

The Colombian writer, Fernando Vallejo, said, “That reality is absurd, cruel, monstrous, delirious, and only death frees us from it.” Assertion that not only does Ángel Muriel share, but completes or ends up splitting hairs to say that “the liberating death is so absurd, cruel, monstrous and delirious as the reality that frees us.”

The vision of reality that Muriel has is very close to the vision of Kafka. Moreover, in this respect the critical, J. Nomblot Rubio, writes, “Work of art such as Muriel tends to arouse the claustrophobia, certain angst, an oppressive sensation, and convenient to know that we are in a well, which is not a nightmare.” He continues, Ángel Muriel’s pictures are scenarios; a single scenario: a kind of bleachers, where the creatures are stacked perfectly delirious, which, are not attending any show, they are one themselves.

Muriel’s work moves close to the ideological principles of the drama of Ionesco. “The theatre of the absurd of Ionesco dynamite reality and psychology of the characters for their lack of logic to sniff the entire ridiculous and nonsense that lies behind the everyday recognizable. Ionesco revolutionizes the scene to clarify not only the absurdity of social conventions, but also the enormous disorientation, anxiety and loneliness of modern man faced with doubt and despair, the fear of death, closer to the dark areas revealed by Freud of the paradises proposed by Marx and religions.

Maria del Mar Bartolozzi Lozano writes, “Muriel chooses to create a world of hybrid figures made with masterful technique in fantasy scenery. He perceives his usual ironic critique of humanity formed by metamorphosed beings, ranging from the metaphysics of De Chirico, science fiction films and comic, with forays into a carnival erotic.” Concerning this last aspect of the work of Muriel, the eroticism, the painter, Pedro del Toro says: They are, therefore (the images of his paintings) somewhat hyper cubical, but not from the geometry mathematical standpoint, nor quantum physics. Nevertheless, Muriel Angel unfolds with great intuition of the entire structural contents of the bodily tissue of their characters, and makes them naked to us showing all its angles, but not all the tight cubbyholes. Without a doubt, it is here where the eroticism of his compositions lies; incurring the fact that the purpose of eroticism is at the end to secrete every nook of the flesh and psyche.

Ángel Muriel is deeply respectful with the tradition especially from the aesthetic point of view and if they cannot virtually relax, if they know how to do this and will discover that their little scandals conceal a chromatic relationship and compositional details that are characteristic of the most elegant pictorial refinement of the Flemish painting. Moreover, others equipped with an atmosphere more dramatic than the more naturalistic approach to Baroque or mystical.

A work in which the author’s own introspective exploration, the idealistic universe and development of the methods of the same remove the most important aspects, which we must add the wealth of the plastic resources, and pictorials, which takes pride in its execution.

The jump to new technologies

Ángel Muriel is an artist with caste, made of good twigs and a special wood, a rare wood does not burn despite the large fires. Ángel Muriel expressed himself as a premature artist at a very young age and could not ignore the voice of his fate, which he followed, dragged by the irresistible force of a strong vocation. “The exercise of art is a form of priesthood, and there is no gift more precious than of creation,” he says.” Our artist did not succumb to the success or failure. He broke down several times, but was able to recover. Believes as Oliver Goldsmith, “Our greatest glory is not to have ever fallen, but in rising every time we fall.”

Now, for the first time Ángel Muriel hangs his work in a virtual gallery that will catapult it to the four corners of a huge world, multiracial and globalized. “I never thought of getting so far without leaving my workshop, he says wryly. Like it or not, we have to adapt to the changing times and make use of tools and the fabulous media, that the new technologies have put at our service. ”

Moreover, I apply my maximum favourite here and I recommend to young artists, even though it is useful to anyone. An alchemist wrote it, and reads: “IF YOU GIVE IN NON IS”, which read from left to right and from right to left comes to mean the same thing: “IF YOU SIT YOU WILL NOT GO.”

In the background, the Classical Radio will continue to sound; we closed Ángel Muriel’s workshop door and for PLASTIKÉ ART GALLERY, open the one of a great artist.



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