Daniel Argimon Granell (1929-1996) - Los seis símbolos

Pictura Galeria presents this magnificent artwork belonging to Daniel Argimon, which depicts six red symbols suspended over a deep, tangled blue background, as a metaphor for the contrast between outward order and the complexity of the inner world. The painting stands out for its excellent technique and the high pictorial quality it conveys.

· Obra dimensions: 92.5x73x2 cm.
· Oil on canvas signed by the artist on the back, Argimon.
· The piece is in good condition.

The work comes from an exclusive private collection in Girona.

Important note: the photographs included are an integral part of the lot description.

The artwork will be professionally packed by an IVEX expert (https://www.instagram.com/ivex.online/), using high-quality materials to ensure its protection. The shipping price covers both professional packaging and the transport itself.
Shipping will be carried out by Correos or GLS with tracking. International shipping available.

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This painting presents a composition of abstract, high visual intensity, dominated by a deep universe of blues on which six reddish shapes are distributed in the upper half. The scene is intuitively divided into two different spaces: a higher, more open, orderly and silent area, and a much denser, darker, more enigmatic lower strip. This opposition generates a powerful tension between clarity and confusion, lightness and weight, surface and depth. The work invites viewers to contemplate its elements without imposing a definitive interpretation, allowing each spectator to find in them their own symbols, memories and emotions.

The background is built with a wide range of blues that traverses almost the entire composition. In some places, a blue close to violet predominates, while in others there are grayish, black, turquoise and brighter blue hues. This diversity prevents the space from appearing uniform and creates the sense of a changing atmosphere. The blue can evoke night, the depths of the sea, a starless sky, or the interior of a thought.

The upper left area is especially dark and is crossed by black vertical lines that descend like drops, shadows or traces of dampness. These marks bring a sense of gravity and make the space feel more closed. As the gaze moves to the right, the background becomes somewhat lighter and acquires bluish-gray tones. This transition gives the impression of a movement from darkness toward a faint light.

The six red shapes are the most recognizable and striking elements. They are arranged in two rows of three, establishing a simple order that contrasts with the complexity of the lower space. All have a curved structure opening upward, though each has small differences in size, tilt and contour. Their repetition creates rhythm and evokes a sequence of signs belonging to an unknown language.

These shapes may recall horseshoes, containers, cradles, boats, smiling mouths, open arms, or fragments of an ancient symbol. Precisely their ambiguity grants them great richness. They are not fully recognizable objects, yet they retain enough familiarity to evoke associations. The viewer can perceive them as protective elements, welcoming gestures, or suspended presences within a nocturnal space.

The first shape located in the upper left is more closed than the others and approaches an incomplete circular figure. Its ends nearly touch, creating the sense of an interrupted cycle or an embrace that does not quite close. The blue interior remains visible and forms a strong contrast with the red outline. Its position next to the darkest area of the background gives it an especially intense presence.

The central shape in the top row appears more open and has two elevated ends. Its silhouette recalls a vessel prepared to receive something, a boat viewed frontally, or two raised arms. Near one side there is a small dark band that interrupts the red and adds an unexpected detail. This variation could symbolize a wound, a union, a pause, or an individual mark.

The third shape in the top row is longer and more balanced. Its ends curve upward gently, creating a nearly smiling appearance. Its location within a slightly brighter area makes it stand out clearly. It can be interpreted as a sign of openness, acceptance or hope, although its red color retains a strong emotional charge.

In the bottom row, the left-hand figure again presents a broad and open structure. One end rises higher than the other, breaking symmetry and creating a sense of movement. A fine line seems to descend from the upper shape toward it, as if they were connected. This discreet union introduces the possibility of a relationship between the symbols, like a thread of memory or an invisible transmission.

The central lower shape is the widest of the six and occupies a prominent position. Its deep curve creates a substantial inner space and its ends rise with force. It may remind of a vessel prepared to contain experiences, emotions or memories. Its placement over the more complex area of the work suggests it acts as a boundary between the orderly upper space and the turbulent lower world.

The last shape, on the right, presents a more compact and angular silhouette. Its raised ends seem like two opposed presences or two figures joined by a common base. Near one side there is a small light dot that breaks the continuity of the red. This tiny detail introduces a sense of fragility, as if even the most solid symbols carried a crack or a sign of transformation.

The red color of the six figures contrasts intensely with the blue of the background. The red can relate to life, blood, passion, energy, danger or bodily memory. The blue, in turn, usually evokes depth, silence, distance and contemplation. The coexistence of both colors produces an emotional tension that can be understood as the clash between impulse and calm, presence and absence, desire and thought.

The reddish shapes have an irregular and folded surface that gives them an organic appearance. They seem built from fragments gathered together, as if molded, repaired or rescued after a transformation. Their irregularities move them away from geometric perfection and ensure that each maintains its own identity. This visible fragility increases their expressiveness and makes them living symbols.

The lower half changes the rhythm of the work completely. There, dark masses accumulate, blue spots, black shapes and extensive whitish lines that become entangled with one another. The space acquires almost physical density and seems to contain a hidden landscape. It may recall an underwater scene, roots beneath the earth, a multitude of bodies, a nocturnal city or a network of thoughts impossible to organize.

Clear lines traverse this zone forming knots, arcs and labyrinthine structures. In some points they seem like roots, branches, nerves or currents of water; in others they recall illegible writings or imaginary maps. Their path is unpredictable and creates a sense of continuous movement. These forms seem to seek an exit within the darkness, like thoughts trying to become words.

Among the tangle are brighter blue areas that introduce brief flashes amid the density. Some zones acquire turquoise or electric tones, while others sink into nearly black blues. This alternation generates depth and allows imagining multiple layered superpositions. The lower space does not appear completely closed, as it retains small points of light that suggest resilience and life.

There are also dark vertical shapes that could recall human figures, columns, buildings or trunks. These presences emerge partially from the blue and white mass, but never become fully defined. Their ambiguity contributes to the mystery and may suggest a silent multitude located beneath the red symbols. They seem inhabitants of a hidden world, trapped between shadows and connections.

The separation between the two halves is not marked by a rigid line. The blue background continues from top to bottom and some dark elements rise from the lower area. This allows both spaces to remain connected, as if the visible, orderly part emerged from a chaotic depth. The six red shapes could be thoughts, memories or emotions that have risen from that inner territory.

The composition can be interpreted as a representation of the mind. The upper area corresponds to the ideas we manage to recognize, order and repeat, while the lower would show a subconscious full of impulses, memories and intertwined associations. The red signs would then be conscious symbols floating over a far more complex universe. This reading turns the work into an exploration of identity and what remains hidden inside each person.

Another possible interpretation relates the red shapes to suspended vessels over a dark sea. The lower area could represent deep and turbulent waters, full of currents and debris. The upper figures would appear as small boats ready to sail or containers intended to protect something valuable. From this perspective, the work would speak of journey, survival and the search for safety in the face of the unknown.

They could also be seen as six smiles or gestures of openness contrasting with a emotionally complex background. This opposition would suggest the difference between outer appearance and inner world. The surface shows orderly and nearly cheerful signs, while below a turbulent reality unfolds. The work would invite reflection on what we hide behind everyday gestures.

The number six and the two-row arrangement give a sense of system or sequence. The shapes seem to belong to the same family, but none is identical to the others. This can be interpreted as a representation of different people, stages, memories, or emotional states. Repetition does not erase individuality, but allows us to appreciate differences.

The verticality of the format reinforces the idea of depth. The gaze starts at the suspended signs and descends toward the lower zone, where the shapes become denser and harder to grasp. It is also possible to travel in the opposite direction, rising from chaos to reach order. This bidirectional movement makes the composition an image of fall and rise at the same time.

Despite its dark tones, the work does not convey only anguish. The reds bring energy and the white lines of the lower space introduce moments of clarity. Even within the densest zones there are connections and movements suggesting a possibility of transformation. The darkness does not stay still; it contains intense internal activity.

The painting invites a deliberate and personal observation. There is no completely defined narrative scene, so the viewer must construct their own meaning. The shapes can change depending on the viewer's mood: at times they may seem protective and at others unsettling; they may recall smiles, wounds, containers, arms or signs. This capacity for transformation is one of the main riches of the work.

Overall, this painting constitutes an intense and mysterious abstract composition in which six red shapes float over a blue universe divided between order and chaos. The upper area conveys repetition, balance and an apparent calm, while the lower part reveals a dense world of lines, knots, shadows and connections. The contrast between the vital red and the deep blue suggests a dialogue between emotion and thought, surface and interior, safety and uncertainty. The work can be understood as a representation of the complexity of the human mind, where visible symbols emerge from a hidden territory full of memories, tensions and possibilities of transformation.