Sans titre, 2000, 195x 162 cm
Cesar Delgado is showing for the first time in France at the gallery Les filles du calvaire. This painter is part of the international renewal of abstract painting which painting which started in the eighties.
He has a special place, influenced by the work Luis Gordillo, leader of Spanish modern abstraction but taking its roots in recent American abstract painting.
Delgado’s work separating the canvas in several areas and using at the same time monochromes and woven backgrounds refers to David Reed’s gesture and composition. One can also think that Jonathan Lasker is somewhere in Delgado’s mind when he explores the different layers of grids and makes them appear at the surface of the canvas.
We are facing pure abstraction and its freedom as if the painter mastering by structural techniques was able to play with a wide range of plastic variation.
Each painting shows a number of symbols, offers several paths for watching it. Delgado is at ease with painting. He puts face-to-face “neutral” areas, flat monochromes of grids with “expressionist” areas, with mixed colours, thickness entangling the material itself.
Then turbulences, networks, webs, organically shaped run through the canvas in contrast with the flat background. However there is a chance, no random in this canvas. Each area, each overflow is a mastered composition where dissymmetry is a balanced system, where the motives are stressed by their counter fields as it the infinite of painting was to be reached though the limitation of the surface and gesture.
As says Andrea Busto: “It is painting for painting, abstraction for the sake of abstraction. It is work for its own sake. ”