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Mercedes Roldán Contemporary Art

Manuel Faura

Desde niño se sintió atrapado por la necesidad de crear, un folio en blanco, un bolígrafo, un rotulador entre sus manos y veía como pasaban las horas, construyendo su propio y personal universo. Los cómics también fueron parte importante de su mundo, ya que ayudaron a que sus dibujos, fueran cuales fueran, siempre contaran una historia; desde una silla, una lámpara un diseño de moda, un cómic o camisetas que el mismo diseñaba.  Años después surgió en su camino la oportunidad de trabajar de escaparatista en moda; con ello encontró una vía para canalizar su creatividad durante más de 20 años, convirtiéndose así en un profesional del sector. Esto a su vez le sirvió para seguir enriqueciéndose de un mundo inacabable a través de sus inquietudes, viendo surgir la fusión entre todas sus pasiones, siendo en ese punto parte importante el interiorismo y la arquitectura. Su  eterna búsqueda del equilibrio le lleva a conjugar la creatividad arropada de  todas sus influencias: artistas de los años 60 y 70, pop art, la Bauhaus, psicodelia, Marvel, Manga, grafiteros, ilustración, animación y artesanía… Esto le llevó a ejercer  su pasión de funambulista entre el mundo de  la belleza, la estética y el interiorismo, a la creación de sus propias obras, volúmenes en madera, siluetas que conviven con la pintura, piezas que constituyen una escultura por si solas; la fascinación por un universo luminoso de color, sombra y oscuridad a la vez, donde los colores se descomponen en otros y otras realidades... ¿ por qué no…?, formas perfectamente imperfectas, imposibles, piezas rotundas que no pasan desapercibidas, casi símbolos.


Rafel Bestard

Well, there’s no doubt that there is some kind of real world outside our minds, but we know about it only through our experience - an experience that includes not only the direct information we receive through our senses, but also knowledge, memory, fantasy, imagination, dreams…. Conformism limits the experience of the world in every day life, but we can feel that there is something else, and that is just there, in the joints of the armored commonplace that imprisons us.

From my early days I wanted the painting to reveal something: A special world in which the appearance of absurdity gives way in which things are rebelling against the narrow range of meanings which have been embedded in a world that is becoming increasingly complex.

My work explores the relationship between fusion and fundamental opposites: Light and Shadow, Love and Death. Through a painting technique in which the tradition of the old masters, through influences as diverse as Bachelard philosophy and Kobayashi films, brings forth new representations of eternal concerns.

"The beauty that emerges from Bestard’s paintings is always disturbing. The radical eroticism goes side by side with humoristic winks and, in the everyday sight; we see, simultaneously, the strength of desire and the frustrations of a fragile beast, sensitive and isolated. A dead bird closes our mouth. Silence. We are alone in front of the painting.”

Albert Lladó, art critic
Barcelona May 2013

Iñigo Navarro

In order to explain my interests, It helps me a lot to tell a little anecdote about my uncle.


My uncle has mystical or paranormal experiences that he does not control. Specifically, he has episodes of what is technically called "astral projection". He is always inclined to explain at family gatherings how he once escaped from his own mind and went to buy a sausage without realizing that his soul was moving without a body that could carry the sausage back.

I try to turn the story into something universal, to rise the anecdotal into the exceptional, after all, the exceptional, by the rarity of its condition, should be considered purely anecdotal .


The world is vast and daunting and so is the art world. I can’t look around without being impress by the vision of exotic barbarism typical of southern Europe. We still mortally celebrating bullfights, and little children climbing to the top of a human tower without fearing if they fall into the abyss , atheists walking the Virgin Macarena in tears, among many other peculiarities .


It is true that we have changed and now we are many other things, but those other things, which are generally identical to the rest of humanity , do not claim my interest.


This anecdote is just the beginning . My imagination starts flying and things start to happen . Everyone knows it's better to die on a magnificent property of a residential area than in a suburb of Paris. Inhabiting the ideas of others is creating one of the most controversial issues of our contemporaneity. If you find the Swamp Thing mowing the lawn on a Sunday morning , ask it about it’s thoughts about Marcel Duchamp or this Sunday’s  football match.


Finally let me explain one last thing; The choice and development of tec

hnique that  I have reached, have taken me years of study . I step the same streets that once trod Velázquez, Goya, Sorolla, Picasso and Casas. I believe that the pictorial heritage is as important as the narrative and my own choice of paint depends not just of my love for painting but also my general conception of art.