Manuel Gracia

Manuel Gracia (Madrid, 1964), lives and works in Madrid.

Master in Contemporary Art by the IArt Superior Institute, his artistic approaches are understood in an intimate space where intuition, emotion and musicality are related to analysis and reflection in a self-referential sense. He has exhibited in various institutional rooms such as Matadero Madrid (2013, 2016), Conde Duque (2016), Valdepeñas Museum (2015 y 2016), Lugo History Museum (2015) or Antonio López Museum (2015). He has participated in important international fairs such as ST'ART Strasbourg (France), Singapore International Art Fair (Singapore), Art Show Busan (South Korea), Contemporary Art Rhur Essen (Germany), Miami River Art Fair (USA) , Budapest International Contemporary Art Fair, (Hungary), among others. He has won, among other awards, First Prize 83 Salón de Otoño (2016), First Prize III Salón de Verano Excma. Diputación de Cuenca (2016), First Prize IX Spring Hall Museum of Valdepeñas (2015), Casino Gran Madrid Prize Contemporary Painting (2015) Mention of Honor and Medal X Spring Hall Museum of Valdepeñas (2016). His work is in national institutions and private collections in Belgium, France, Germany, Hungary, Saudi Arabia, South Korea, Spain, United Kingdom and the USA.

These images of slippery visuality, imply an exercise of plastic parallelism with the search for order and measure where it inhabits what is apparently report and chaotic. They manifest the human will to establish an understandable order about a seemingly disordered reality that we cannot understand, about that superhuman order that we cannot control. The liquid, report and mutable, is called to order by the line to become thus an object of contemplation and reflection.

Harald Szeeman, one of the pioneers and prophets of the office of commissioning, used to say that the commissioner's job consisted primarily in "structuring chaos." It is my desire to find an order in chaos and provide a temperature of rigor and structure by means of various linear, straight and curvilinear elements, which serve to hold the pictorial masses, as if it were an intangible grid, but Visible, and avoid the confusion of the chaotic. This linear strategy allows me to create deep effects between the different planes that generate the composition.

In contemplating these works the pupils of our eyes, but also those of our imagination, embark on a fractal journey to the unbroken space of the macro-worlds or to the invisible realm of the microscopic.