6 Eylül 2012 Perşembe

Carles Gomila

– I was born on the island of Menorca in 1978 and I´m fully devoted to painting since I was 21.

I´m Currently working for art galleries in the United States, United Kingdom and Spain, but I usually work on direct commissions from private collectors.

I studied Fine Arts in Barcelona, where I got my bachelor's degree, but I actually learned to paint studying the classics.

I'm afraid that I´m too contemporary to be disappointed in the Avant- garde of Babel, and I feel free
representing the human figure, redeeming the values of classical art from a contemporary perspective. My art is organic and changing. I am always open to change and I´m influenced by everything that moves me.

– I try to transfer to the paint all that surrounds the aura of the classics, the commitment of the timeless that nourishes the bodies of a vigorous momentum. A painting tender and yet disturbing, evocative, lively, with body, restraint, and elegance.

Signature style
All the elements of  a painting must have a plastic effect, and they must be integrated in it. For than reason I design a different signature design for each painting, so the signature is integrated and balanced within the painting composition.

Cocktail iconography

Often, the subject is so academically imposed that it is inevitable to fall into a 'genre painting' even for an innovative project. Controversy, the revision of traditional iconography and traditional values have a sophisticated involvement in combination with contemporary elements that crystallize in the work with a desired shock effect.


The inconsistency and the exaltation of the impact cause an unusual stimulus to the imagination. Any work that seeks to excite needs to transport the viewer into a daydream. Thus, fantasy will reconcile the viewer with the work through the empathy of the imagination.


One of the most suggestive forms for a painted figure being a presence, is that it possesses the power, capacity and human dimension.
 The representation of the figure in human size is an important resource in my work. I usually place the head at the same height to that of the viewer's for greater impact, achieved when both looks meet.


I avoid the uniform and homogeneous creation because smooth and indistinct do not contribute to the fertility of the work. The play of contrast and harmony through different techniques, materials and finishes are the key to getting a wide range of nuances, rather than the virtuosity in the palette.


The dermis is variable and rich in tone, as it is the superposition of many thin layers in addition to the differences of blood irrigation. In painting this effect is simulated by applying layers with different degrees of transparency, the final colors are achieved by optical mixing, not physical.


The deliberate omission of information is attributed to Leonardo, but there were many Renaissance artists who used the device of uncertainty to enhance the 'mirage effect' in their portraits. Evaporating key areas of recognition of expression (such as eye and mouth corners), is relegated to the opinion of the viewer. That is why some works, in accordance with our moods, behave differently, as if it was a magic trick.

Value of the unfinished

Often the most delicate, nearly-executed details in paintings are not properly presented in order to appraise them. The homogeneity in the excellence of the detail causes monotony and saturation. That is why a brilliant detail looks better in an unfinished universe than, paradoxically, in a perfect and defined work.


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