In the early eighties, going against the grain of a raging Expressionism copied from German painting, Guillermo Lledó took up a Minimalism which, some years later, he would define in these words: “I want the forms to be simple and clear, to be easily retained. They must appear after the accidental has been eliminated, possess the properties of a schema and the value of an archetype.” Aware of the limits of representation, he himself links his work and ideas to names such as Richard Serra, Richard Artschwager, Hubert Kiecol, Per Kirkeby, Dan Graham and Robert Morris. The two woods, Madera pintada 1 and Madera 4, dated just one year apart, embody some—if not all—of the virtues and characteristics of his work. The very substance of the wood behaves like a signifier of the piece, offering its grains, its natural colour, or painted in a single colour, as the main subject, to which the shape of the outline—rectangular or round—and the fragmentary structure of planks assembled in a particular order are added. The material and its distribution, as well as its installation on the wall, like pictures with volume, play with the ambiguity of the spectator’s perception while also referring to memory and the presence of the human. Madera pintada 1 is the first work in a long series in which Lledó developed various treatments on the support. In this case, as he himself says, he painted it with a layer of Titanlux and, as he did not like the final result, he repainted it in oil, which is the reason for the peculiar reverberation of colour along the edges of the painted areas. Like the other works, Madera 4 is painted in a single colour with synthetic paint.
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