Galería Fernando Alcolea

It is useful to reflect upon the reciprocal nature of the relationship of the work of art to the artist when one confronts the enigma evoked by the production of Gabriel, whose theoretical discourse is inseparable from his artistic practice. The artist necessarily asserts the autonomy of “form,” through every physical occupation of space that shapes and objectifies the flux of appearances. So, under these conditions, and in order to rule out any finality other than his own, he tolerates only “formless” form. Interest in Gabriel’s work resides precisely in his resistance to imitation, under whatever guise, and in his renunciation of the quest for beauty, as foreign to his concept of art as a pathway to knowledge. In this respect, for him, art (or rather its formal materialization) is not an end in itself but is a means to a knowledge that compels him to reject any identification of the

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