We start the year with the exhibition Salt, Snow and Sugar, with works by Nacho Zubelsu that emerges from a network of concerns linked to nature, anthropology, ethnography, transhumance and philosophy. Through these references, the artist constructs a personal language that delves into memory— especially childhood—as a fertile territory from which to recover emotions, sensations and essential keys to the development of their artistic practice.
The three elements that give the exhibition its title—salt, snow and sugar—are different in composition yet united by color, becoming sensitive and autobiographical metaphors. Although they are ephemeral materials that dissolve into the atmosphere or in water, they remain in the artist’s memory and resurface in the work as intimate evocations connected to travel, experience and a childlike gaze imbued with poetry and delicacy.
The exhibition presents works that are thematically and chromatically cohesive, while differing in their creative processes. Particularly noteworthy are the pieces from the Transhumances series, some of them large-scale, created through an artisanal cut-paper technique. These works allude to silence, stillness and melancholy, combining intuitive and reflective approaches through organic forms, layers, rhythms and counter-rhythms that build landscapes of light, memory and movement, challenging linearity and celebrating a latent order within chaos.
Alongside these are works from the Orographies series, flat drawings made with ink and pen on paper, where waves, scales and zigzags generate abstract topographies and organic landscapes. This body of work dialogues with a third proposal composed of twelve figurative drawings representing partially burned wooden stakes, reflecting on ephemerality, travel, boundaries and the fleeting nature of life, as well as on wood as a natural and sustainable resource—an ongoing concern within the artist’s poetic universe.
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