Gonzalo Martin-Calero’s color magic
July 13, 2001 | 12:00am
An unusual combination of vibrant colors and a sense of calm touched my senses as soon as I was inside the Luz Gallery. On view is the exhibition of paintings, collages and drawings of Spanish painter Gonzalo Martin-Calero.
Imagine all these primary colors of red, blue, green and yellow tamed into delicate compositions that inspire equanimity and reflection. Then the question comes to mind: So what is it that seems to calm these bold colors? That, I had to find out from Martin-Calero himself.
So one afternoon I arranged to meet the artist at the Luz Gallery. A very serene-looking man arrived with a lovely Spanish lady. They were the artist himself and his wife Isabel. Minutes later, a beaming Arturo Luz also arrived. His distinct vibrant voice filled the room with explicit greetings. Since Martin-Calero spoke no English, our National Artist Arturo Luz took time out from his studio to be the translator of the day.
As always, whether he is talking or not, Luz exudes that powerful presence which is so distinctly Luz. To discover another talent of his that he actually speaks fluent Spanish was altogether awesome – like only Arturo Luz can be to me and many other artists.
As Martin-Calero sat quietly waiting for my first question, I started by pointing out a few things that got my attention in his catalog. I took note for example that he was fascinated with Rothko’s affirmation that "a painting should be like a miracle."
I therefore asked Martin-Calero if he also believed and applied Rothko’s scientific approach to color: painting double negative spaces where colors that define individual spaces merge without lines. He seemed surprised by the question and explained that his method is actually the result of 20 years of painting that has evolved into the personally-honed techniques he is using today. He had gone through many different stages where in the beginning, he learned and applied the conventional applications of the European and eastern traditions, ranging from the use of very heavy and rich colors which eventually graduated into lighter and more luminous hues. One traditional approach also translated to painting compartmentalized spaces and forms. This is in contrast to the Oriental or eastern application characterized by complete open spaces that totally cover the whole canvas.
The paintings of Martin-Calero are actually all about the Spanish landscapes. One may not see these landscapes realistically but definitely, one feels that the paintings are about nature and the atmosphere. Consider all the primary colors of the landscapes of Spain. The artist has a special affinity to them and they are the main subjects he contemplates on that leads him to the "essence seeking" of all these earthly elements. This process enables him to transform his chosen scenery into measureless floating panoramas that are so visually soothing to the senses.
A couple of years ago, Martin-Calero traveled to New York and was smitten by one of the artists on exhibit in the Metropolitan Museum. It was a Chinese artist named Chu Ta. The painting of Chu Ta left such an impression in Martin-Calero’s mind that he did a painting in 1999 that was inspired by him. Pointing at the painting on page 13 of one of his four-volume catalogs, the oil on paper artwork measures six feet high and two feet in width. One can imagine that the vertical positioning alone of such a size already suggests an artwork that is similar to a Chinese scroll. As I looked at it, the beautiful yellow painting indeed showed an Oriental aura that only demonstrates what can very well be a kind of tribute and his only connection to this Asian artist, Chu Ta.
Arturo Luz clearly describes Calero’s art as "an exploration of the power, magic and fascination of color to reconstruct the Spanish landscape into vibrant inner landscapes. He looks for the essential and the spiritual, painting reality with Oriental simplicity and economy."
"Inspired by the Castilian sun, colors and the countryside, he bridges the gap between what we see and what we feel, transforming objective reality into subjective expression."
As an artist myself, Calero’s exhibition is a welcome respite to the recent events and the almost cheerless state-of-the-art scene in our country today. The beauty of Martin-Calero’s work takes one to a higher level that is definitely not of the mundane which overwhelms our world today. Instead, this exhibition is about essences that refresh the heart, mind and spirit.
The Martin-Calero exhibitions are part of a large touring exhibition that are ongoing at the Luz Gallery (until July 12) and the Metropolitan Museum (until July 28) with future venues in Hong Kong, Italy and France. The exhibit was brought here through the collaboration of Bea Zobel, Arturo and Tessie Luz, the Spanish Ministry of Foreign Affairs, the Spanish Agency of International Cooperation, Junta Castilla y Leon, and the Agency for Cultural and Scientific Relations of Spain.
Imagine all these primary colors of red, blue, green and yellow tamed into delicate compositions that inspire equanimity and reflection. Then the question comes to mind: So what is it that seems to calm these bold colors? That, I had to find out from Martin-Calero himself.
So one afternoon I arranged to meet the artist at the Luz Gallery. A very serene-looking man arrived with a lovely Spanish lady. They were the artist himself and his wife Isabel. Minutes later, a beaming Arturo Luz also arrived. His distinct vibrant voice filled the room with explicit greetings. Since Martin-Calero spoke no English, our National Artist Arturo Luz took time out from his studio to be the translator of the day.
As always, whether he is talking or not, Luz exudes that powerful presence which is so distinctly Luz. To discover another talent of his that he actually speaks fluent Spanish was altogether awesome – like only Arturo Luz can be to me and many other artists.
As Martin-Calero sat quietly waiting for my first question, I started by pointing out a few things that got my attention in his catalog. I took note for example that he was fascinated with Rothko’s affirmation that "a painting should be like a miracle."
I therefore asked Martin-Calero if he also believed and applied Rothko’s scientific approach to color: painting double negative spaces where colors that define individual spaces merge without lines. He seemed surprised by the question and explained that his method is actually the result of 20 years of painting that has evolved into the personally-honed techniques he is using today. He had gone through many different stages where in the beginning, he learned and applied the conventional applications of the European and eastern traditions, ranging from the use of very heavy and rich colors which eventually graduated into lighter and more luminous hues. One traditional approach also translated to painting compartmentalized spaces and forms. This is in contrast to the Oriental or eastern application characterized by complete open spaces that totally cover the whole canvas.
The paintings of Martin-Calero are actually all about the Spanish landscapes. One may not see these landscapes realistically but definitely, one feels that the paintings are about nature and the atmosphere. Consider all the primary colors of the landscapes of Spain. The artist has a special affinity to them and they are the main subjects he contemplates on that leads him to the "essence seeking" of all these earthly elements. This process enables him to transform his chosen scenery into measureless floating panoramas that are so visually soothing to the senses.
A couple of years ago, Martin-Calero traveled to New York and was smitten by one of the artists on exhibit in the Metropolitan Museum. It was a Chinese artist named Chu Ta. The painting of Chu Ta left such an impression in Martin-Calero’s mind that he did a painting in 1999 that was inspired by him. Pointing at the painting on page 13 of one of his four-volume catalogs, the oil on paper artwork measures six feet high and two feet in width. One can imagine that the vertical positioning alone of such a size already suggests an artwork that is similar to a Chinese scroll. As I looked at it, the beautiful yellow painting indeed showed an Oriental aura that only demonstrates what can very well be a kind of tribute and his only connection to this Asian artist, Chu Ta.
Arturo Luz clearly describes Calero’s art as "an exploration of the power, magic and fascination of color to reconstruct the Spanish landscape into vibrant inner landscapes. He looks for the essential and the spiritual, painting reality with Oriental simplicity and economy."
"Inspired by the Castilian sun, colors and the countryside, he bridges the gap between what we see and what we feel, transforming objective reality into subjective expression."
As an artist myself, Calero’s exhibition is a welcome respite to the recent events and the almost cheerless state-of-the-art scene in our country today. The beauty of Martin-Calero’s work takes one to a higher level that is definitely not of the mundane which overwhelms our world today. Instead, this exhibition is about essences that refresh the heart, mind and spirit.
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