When it comes time to present their work, artists don’t have a lot of information about a gallery’s artistic project, in terms of what exactly they’re looking for and what their selection criteria is based on, which is why it’s convenient to concretize and put some of these ideas on paper. It goes without saying that we are referring to our own ideas that, without the intention of convincing anybody of anything, they will surely make a few people feel identified with them.

In the gallery’s presentation, we make reference to the process of opening we are developing, both conceptually and stylistically, and we refer to the criteria of “quality” and “coherence” as the predominant feature of it. This may seem very generic and it would actually be if we based its course on the incorporation of certain styles. However, from the moment we focus our attention on the qualities of the person behind the work, it’s not so generic. We believe that the most interesting proposals will come from individuals who fulfill the best conditions and attitudes, which is why we look for talent, motivation, honesty and the commitment of an artist to his work.

Talent, an assumed condition, is the raw material artists work with. Motivation is the fuel that allows them to move. Honesty and commitment, which are inseparable, give them the ability to avoid shortcuts and sensationalism, and will provoke intellectual, aesthetical quests, researches for material resources, doubts and crises. These two qualities lead to a permanent feeling of dissatisfaction, the very necessary spirit of self-criticism that, in proper doses, fosters progress. Together, these four characteristics allow the artist’s growth to come as the culmination of his personal evolution and therefore in a coherent manner.

If we distinguish two substantial aspects of artwork – essence and form, the message and the language; or rather, the concept and its material expression – both aspects must go hand in hand and related to each other. It is so important for an artist to plunge deeper into the discourse, aesthetic quest or idea that he wants to convey, as doing it by using the most suitable material resources to depict it. This coherence between both aspects is especially evident in artists who go through their own evolution, both consistent and sincere. In many cases, an obsession with the expressive technique used can undermine the final result if it is not set as secondary to the main objective, which is none other than to adequately convey the artist’s ideas. Nevertheless, the imbalance can also be inverse; in other words, a magnificent exercise of reflection whose material expression is not sufficiently adequate would produce a work of art that lacks the capacity to communicate and, due to a lack of maturity, can be lost on the spectator.

In regard to the contemporaneity of a work of art, in the gallery’s presentation it is already stated that it shouldn’t be more than a consequence of the artist’s open, restless, receptive attitude towards the aesthetic, conceptual and technical information surrounding them. Given the diverse nuances that allow one to appreciate this relationship with nowadays, it’s very probable that an artist with the personal characteristics and drive as described here will develop a work of art which will involve this feature. Nevertheless, if there is a consensual philosophical principle in the world of contemporary art, it is plurality in the greatest sense of the word. Perhaps, now more than ever, there is room for all kinds of artistic trends, including those which reflect about previous usual reflections as long as they provide with something new.

Working with young artists and show-casing them is one of the greatest satisfactions for the gallery. In that sense, we are not so much interested in the path that has lead an artist to his present situation, but in the one he has left to discover. That is why we consider the expositional résumé to be complementary, but not a determining factor. The projection of an artist strives for a clear objective: to develop the maximum potential, creating added value in different fields – artistic, human and economic – and is essentially based on the degree of communication, trust, commitment and involvement between the artist and the gallery director. That is the reason why it is essential for both to share their points of view regarding artistic concepts and work philosophy, a factor that this summarized text, in which some will find themselves depicted, has tried to foster.

Finally, to those who can relate to the ideas presented here and would like to share their work with us, some details regarding dossiers sending by email. Five to ten images and some type of explanatory text describing the project (if appropriate) is enough for an initial correspondence. Since these images needn´t be very large files in order to be seen on screen, we beg you to keep this in mind when preparing your materials.

Best regards to all, both of them.

Santiago Sánchez Echeberría