Madrid

Ferrán García Sevilla

Galería Juana de Aizpuru

Sama 66 (all works 1991) is a true “all over” painting. The dispersion completely disorients vision; it does away with centering and elicits a hypnotic impression of vertigo. All areas of the surface are homologous, sharing the same force. If we recognize its painted arrows as scriptural or pretextual indicators—if we acknowledge in them an allusive insinuation of sense—we would have to infer as well that this eventual writing has been deconstructed, that it is conceived in the same way Derrida considered what he calls the “arch-trace.” Thus what Ferrán García Sevilla paints is nothing other than the primordial trace of a writing, its state of pure “dissemination.”

Herein lies the unsuspected continuity and coherence of García Sevilla’s work. He is, in fact, usually considered an iconoclastic exile of every style, who capriciously varies his approach. Nothing could be further from the

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