Barcelona, 1973

Throughout his years of experimentation, Cesc Abad (Barcelona, 1973) has developed a special interest in man and his relationship and effect on nature. After years of studying the great masters of painting, he found his technical tool in the post-impressionist brushstroke and history in symbolism.

This mixture leads to both figurative and conceptual work, as a result of an introspective task from the point of view of nature, but suggesting many questions to the viewer. His artworks allow people to observe the landscape in a different way, as if one could approach a piece of forest. One simply has to slide one's finger on the screen to discover sometimes a real animal world, sometimes a dreamlike world and sometimes a dystopian one. Cesc Abad's main work is done in large formats using oil and acrylic paint. Also, as a counterpoint to painting, ceramics also have a very special place.

Cesc Abad's ceramics, far from being an archaeological discovery, are an iconographic discovery with multiple figures and readings. They are accompanied by a very special coloring that gives his works an infinity of visions and interpretations: the reading or interpretation in his ceramics can be done from bottom to top, from right to left or in the opposite direction. This allows the viewer to enjoy different stories or moments that enrich the condition of man. In a way, they are somewhat reminiscent of the Sumerian bas-reliefs, whose stories were configured in strips or registers around the vessel and whose initial content was fundamentally religious and votive. They also featured seated or processional figures as well as animals, which give the pieces a narrative register.

Yellows, greens, blues and reds give these ceramics a color and brightness somewhere between kitsch, pop and natural, which is life itself.