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Wences Rambla


Images that, notwithstanding what we have said above and written elsewhere in other essays about his work, refer to bulk topics, motives, concerns —feelings and sayings, loves and defeats— of a diverse and plural outcome. Several stages could be annotated for his work: first, expression and anxiety; second, strength and accusation; and third, full suavity in achieving his iconographic formula but showing a shade of denunciation none the less cutting. Sheltered by one plus one thousand turning points where sarcasm, irony and caricature have been caressing a many hued typology, and at any rate without leaving out his diction for plastic aesthetics, his field is transformed and led into aesthetic experience for the spectator, who approaches his work, culls his language and keeps for himself the underlying message to finally enjoy shapes and colours, compositions and happenings.

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TIRISITI EMPORDANÉS, 1992 (Aiguafort , Planxa de 33x25) Antoni Miró

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