Manuel Pinazo (1956) - Yuxtaposicion I

Painting created with pigments and acrylic on canvas
Framed with pine wood
Accompanied by the artist's certificate
Artwork produced in 2026; it is shipped properly packaged and insured

Manuel Pinazo, 1956 Valencia
• Arts and Crafts. Eduardo Merello School (A.H.V.) affiliated with the School of Arts and Crafts of Valencia (5 years)
• Master's degree in artistic iron forging

Shared studio with artists Víctor Blasco and Carlos Romero in Valencia, 1990

EXPANDED GEOMETRY
By Pedro Alberto Cruz

The abstract language that permeates Manuel Pinazo Rodríguez's entire output is a direct consequence of the reworking of geometric rigor experienced during postmodernism, as well as the expansion of painting beyond its traditional boundaries. The first distinguishing element of his painting is the introduction of error, of "imperfection," in the translation of certain geometric schemes with a long tradition dating back to the avant-garde. Pinazo's work repeats compositional patterns based on parallel vertical or horizontal bands of different colors, checkerboards, or the repetition of geometric figures such as the rectangle. When observed in detail, each of these compositions reveals how the cold rationalism on which geometric abstraction is based has been subverted through the insertion of various irregularities: slightly slanted lines that, therefore, are not completely straight; different spacing between the various bands of color; vertical lines that are interrupted and break the rhythm of the work; Or, evidently, the cheerful color—with Matisse-esque echoes—and sometimes with an air of naiveté, which undermines the metaphysical authority that permeates much of avant-garde geometric abstraction.
But Manuel Pinazo's process of deconstructing abstract geometry does not stop at this first level of critique. There is also a "second level," which the artist has consolidated over the years and which provides interesting conclusions. First, and in a line of work that continues the post-painterly abstraction of the 1980s, the artist plays with the sculptural potential of painting by combining various pieces that dynamite the traditional idea of ​​a square or rectangular contour/frame.