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

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

· Dimensions of the work: 92.5x73x2 cm.
· Oil on canvas hand-signed by the artist on the reverse, Argimon.
· The piece is in good conservation condition.

The work comes from an exclusive private collection in Girona.

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

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

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This painting presents an abstract composition of great 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, clearer, more ordered and silent zone, and a much denser, darker, more enigmatic lower band. This opposition generates a powerful tension between clarity and confusion, lightness and weight, surface and depth. The work invites the viewer to contemplate its elements without imposing a definitive interpretation, allowing each observer to find in them their own symbols, memories and emotions.

The background is built through a broad range of blues that traverses almost the entire composition. In some places a blue close to violet dominates, while in others there are greyish, black, turquoise and brighter blue shades. This diversity prevents the space from feeling uniform and creates a changing atmosphere. The blue may remind of night, the depths of the sea, a starless sky or the interior of a thought.

The upper left zone is especially dark and is crossed by vertical black lines that descend like drops, shadows or traces of moisture. These marks impart 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 blue-grey tones. This transition gives the impression of movement from darkness toward a faint light.

The six red shapes constitute the most recognizable and striking elements. They are distributed in two rows of three, establishing a simple order that contrasts with the complexity of the lower space. All present a curved structure opening upwards, 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, vessels, cradles, boats, smiling mouths, open arms, or fragments of some ancient symbol. Precisely their ambiguity grants them great richness. They are not fully recognizable objects, yet they retain enough familiarity to trigger associations. The viewer may see them as protective elements, welcoming gestures, or suspended presences within a nocturnal space.

The first shape located upper left is more closed than the others and approaches an incomplete circular figure. Its ends almost touch, creating a sense of an interrupted cycle or an embrace that does not fully close. The blue interior remains visible and creates 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 resembles a vessel ready to receive something, a boat seen frontally, or two raised arms. Near one of its sides appears 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, producing a nearly smiling appearance. Its location in a somewhat brighter area makes it stand out clearly. It can be interpreted as a sign of openness, acceptance or hope, though its red color retains a strong emotional charge.

In the bottom row, the leftmost 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 to approach it, as if they were connected. This discreet union introduces the possibility of a relationship between the symbols, akin to 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 recall a vessel prepared to contain experiences, emotions or memories. Its position above the more complex area of the work suggests it acts as a boundary between the orderly space above and the turbulent world below.

The last shape, on the right, presents a more compact and angular silhouette. Its raised ends seem like two opposing presences or two figures joined by a common base. Near one of its sides appears 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 hold a crack or a sign of transformation.

The red color of the six shapes contrasts intensely with the blue of the background. Red may relate to life, blood, passion, energy, danger or bodily memory. Blue, on the other hand, 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 void, desire and thought.

The reddish shapes have a bumpy, irregular surface that gives them an organic appearance. They seem built from gathered fragments, as if molded, repaired or rescued after a transformation. Their irregularities keep them from geometric perfection and preserve each one’s own identity. This visible fragility increases their expressiveness and makes them living symbols.

The lower half completely changes the rhythm of the work. There, dark masses, blue stains, black shapes and extensive white lines accumulate and interlace with each other. The space gains almost a physical density and seems to contain a hidden landscape. It can remind of a seabed, roots underground, a multitude of bodies, a nocturnal city, or a network of thoughts impossible to organize.

Clear lines traverse this zone forming knots, curves and labyrinthine structures. In some spots 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 shapes seem to seek an exit within the darkness, like thoughts trying to become words.

Among the tangle there are brighter blue areas that introduce brief glints amidst the density. Some zones acquire turquoise or electric tones, while others sink into almost black blues. This alternation generates depth and allows imagining multiple superimposed layers. The lower space does not seem completely closed, as it retains small points of light suggesting resistance 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 can evoke a silent crowd 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 and orderly part emerged from chaotic depth. The six red shapes could be thoughts, memories or emotions that have managed to rise from that inner territory.

The composition can be read as a representation of the mind. The upper zone would correspond to the ideas we can 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 makes the work an exploration of identity and what remains hidden within each person.

Another possible interpretation relates the red shapes to vessels suspended over a dark sea. The lower zone could represent deep and agitated waters, full of currents and wreckage. The upper figures would seem like small boats ready to sail or vessels intended to protect something valuable. From this perspective, the work would speak of travel, survival and the search for security in the face of the unknown.

They could also be seen as six smiles or open gestures that contrast with a emotionally complex background. This opposition would suggest the difference between outer appearance and the inner world. The surface shows orderly and almost cheerful signs, while below extends a turbulent reality. 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 read 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 area, where shapes become denser and harder to comprehend. It is also possible to reverse the journey, ascending from chaos to reach order. This double direction makes the composition an image of descent and ascent at the same time.

Despite its dark tones, the work does not convey only anguish. The reds provide energy and the white lines in the lower space introduce moments of clarity. Even in the densest zones there are connections and movements suggesting a possibility of transformation. Darkness is not static; it contains intense inner activity.

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

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 zone 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, security 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.”