The series of photography in this exhibition is dedicated to some of the seven emotions that the artist considers to be the basic requirements for an artwork to become eternal and complete, and for it to transcend the time in which it was created.
These emotions are tied to the images of gestation; a metaphor of the anguish the artist feels in the act of creating, precisely when his mind is being fertilized by the original idea. Ginestet puts all the models on the threshold of the door communicating between two spaces: the first one dedicated to painting and the second one dedicated to sculpture. This way, by superimposing the two opposite points of view, there is at the same time a fusion between painting, sculpture and photography. This fusion is both a paradox in its strength and its delicacy and has its counterpart in the three dimensions of the bronze casts of busts, in which the images find aesthetic continuity. Way beyond any sculptural speculation, the images suggest a double dimension with its being fusing the point of view most obvious to the viewer with its subtle counterpart, darkness, thus inviting the onlooker to enter this work (as much as a single piece as a collection of pieces) as if it were one’s own existential enigma.

Joan-Francesc Ainaud, 2006 (catalogue Cos i Anima, 2006)

The series of photography in this exhibition is dedicated to some of the seven emotions that the artist considers to be the basic requirements for an artwork to become eternal and complete, and for it to transcend the time in which it was created.
These emotions are tied to the images of gestation; a metaphor of the anguish the artist feels in the act of creating, precisely when his mind is being fertilized by the original idea. Ginestet puts all the models on the threshold of the door communicating between two spaces: the first one dedicated to painting and the second one dedicated to sculpture. This way, by superimposing the two opposite points of view, there is at the same time a fusion between painting, sculpture and photography. This fusion is both a paradox in its strength and its delicacy and has its counterpart in the three dimensions of the bronze casts of busts, in which the images find aesthetic continuity. Way beyond any sculptural speculation, the images suggest a double dimension with its being fusing the point of view most obvious to the viewer with its subtle counterpart, darkness, thus inviting the onlooker to enter this work (as much as a single piece as a collection of pieces) as if it were one’s own existential enigma.

Joan-Francesc Ainaud, 2006 (catalogue Cos i Anima, 2006)

The series of photography in this exhibition is dedicated to some of the seven emotions that the artist considers to be the basic requirements for an artwork to become eternal and complete, and for it to transcend the time in which it was created.
These emotions are tied to the images of gestation; a metaphor of the anguish the artist feels in the act of creating, precisely when his mind is being fertilized by the original idea. Ginestet puts all the models on the threshold of the door communicating between two spaces: the first one dedicated to painting and the second one dedicated to sculpture. This way, by superimposing the two opposite points of view, there is at the same time a fusion between painting, sculpture and photography. This fusion is both a paradox in its strength and its delicacy and has its counterpart in the three dimensions of the bronze casts of busts, in which the images find aesthetic continuity. Way beyond any sculptural speculation, the images suggest a double dimension with its being fusing the point of view most obvious to the viewer with its subtle counterpart, darkness, thus inviting the onlooker to enter this work (as much as a single piece as a collection of pieces) as if it were one’s own existential enigma.

Joan-Francesc Ainaud, 2006 (catalogue Cos i Anima, 2006)

The series of photography in this exhibition is dedicated to some of the seven emotions that the artist considers to be the basic requirements for an artwork to become eternal and complete, and for it to transcend the time in which it was created.
These emotions are tied to the images of gestation; a metaphor of the anguish the artist feels in the act of creating, precisely when his mind is being fertilized by the original idea. Ginestet puts all the models on the threshold of the door communicating between two spaces: the first one dedicated to painting and the second one dedicated to sculpture. This way, by superimposing the two opposite points of view, there is at the same time a fusion between painting, sculpture and photography. This fusion is both a paradox in its strength and its delicacy and has its counterpart in the three dimensions of the bronze casts of busts, in which the images find aesthetic continuity. Way beyond any sculptural speculation, the images suggest a double dimension with its being fusing the point of view most obvious to the viewer with its subtle counterpart, darkness, thus inviting the onlooker to enter this work (as much as a single piece as a collection of pieces) as if it were one’s own existential enigma.

Joan-Francesc Ainaud, 2006 (catalogue Cos i Anima, 2006)

Jenseits der Interpretation eines flüchtigen Augenblickes in einem Geschehen, denn wir
dürfen nicht so naiv sein und meinen, der Künstler mache „nur“ Frauenportraits, zeigt sich die abgründige Tiefe der Reflektionen des Künstlers in der Wahl beliebig austauschbarer Gesichter zur Konkretisierung einer körperlichen und geistigen Haltung der Weiblichkeit per se. Den meisten Betrachtern sind die gewählten Gesichter neu und anonym. Wären diese Gesichter bekannte Gesichter, wäre es wesentlich schwerer, sich von diesen zu lösen, da sie den Betrachter mit eigenen Erfahrungen –also Teilen des Selbst- verknüpfen würden.
Da aber dennoch keine Wahl beliebig ist, wird hier die Wahl der Personen in ihrer Rolle als Musen in Einklang mit der Denkweise und den Empfindungen des Künstlers getroffen und bleibt somit seine subjektive, partikulare und der Gegenwart in ihrer Sterblichkeit verpflichtete Wahl.
So sehr seine Portraits eine Komplexität im Ausdruck, die ihres gleichen sucht, hervorheben und dadurch abstrahierend die Plastiken aus dem Genre des Portraits befreien und vielmehr die Ambiguität und die feinen Distinktionen (ganz nach dem französischen Soziologen P. Bourdieu) des Ausdrucks per se zum Thema machen, ist die völlige Anonymisierung in der puren Abstraktion der eigentliche Gang zum Spiegel, also der Suche nach Wahrheit.
Diese Abstraktionen sind auch wiederum Abstraktionen von etwas Konkretem, sofern man Gefühlen einen Wahrheitsgehalt zuschreiben mag. Es sind lyrische Abstraktionen, die wie es ihnen gebührt, sich in schweigender Verschlossenheit hüllen, wie Schatztruhen. Es wird also keine Erklärung seitens des Autors geben dazu, warum und wieso Abstraktionen entstanden sind. Ihr spiritueller Gehalt ist Inhalt mehr denn genug und der Wahrheit sollte man ihr Reich eh nicht abzutrotzen bemüht sein.

The series of photography in this exhibition is dedicated to some of the seven emotions that the artist considers to be the basic requirements for an artwork to become eternal and complete, and for it to transcend the time in which it was created.
These emotions are tied to the images of gestation; a metaphor of the anguish the artist feels in the act of creating, precisely when his mind is being fertilized by the original idea. Ginestet puts all the models on the threshold of the door communicating between two spaces: the first one dedicated to painting and the second one dedicated to sculpture. This way, by superimposing the two opposite points of view, there is at the same time a fusion between painting, sculpture and photography. This fusion is both a paradox in its strength and its delicacy and has its counterpart in the three dimensions of the bronze casts of busts, in which the images find aesthetic continuity. Way beyond any sculptural speculation, the images suggest a double dimension with its being fusing the point of view most obvious to the viewer with its subtle counterpart, darkness, thus inviting the onlooker to enter this work (as much as a single piece as a collection of pieces) as if it were one’s own existential enigma.

Joan-Francesc Ainaud, 2006 (catalogue Cos i Anima, 2006)

The series of photography in this exhibition is dedicated to some of the seven emotions that the artist considers to be the basic requirements for an artwork to become eternal and complete, and for it to transcend the time in which it was created.
These emotions are tied to the images of gestation; a metaphor of the anguish the artist feels in the act of creating, precisely when his mind is being fertilized by the original idea. Ginestet puts all the models on the threshold of the door communicating between two spaces: the first one dedicated to painting and the second one dedicated to sculpture. This way, by superimposing the two opposite points of view, there is at the same time a fusion between painting, sculpture and photography. This fusion is both a paradox in its strength and its delicacy and has its counterpart in the three dimensions of the bronze casts of busts, in which the images find aesthetic continuity. Way beyond any sculptural speculation, the images suggest a double dimension with its being fusing the point of view most obvious to the viewer with its subtle counterpart, darkness, thus inviting the onlooker to enter this work (as much as a single piece as a collection of pieces) as if it were one’s own existential enigma.

Joan-Francesc Ainaud, 2006 (catalogue Cos i Anima, 2006)