madrid

View of “Miki Leal,” 2014. From left: La pared de Raymond (Raymond’s Wall), 2014; Juego de lápiz (Playing with the Pencil), 2014; De como todo es posible (About How Everything Is Possible), 2014; Proyecto para una alfombra (Project for a Carpet), 2014.

Miki Leal

F2 Gallery

View of “Miki Leal,” 2014. From left: La pared de Raymond (Raymond’s Wall), 2014; Juego de lápiz (Playing with the Pencil), 2014; De como todo es posible (About How Everything Is Possible), 2014; Proyecto para una alfombra (Project for a Carpet), 2014.

In 2009, the Seville-born, Madrid-based painter Miki Leal traveled by motorbike to Martin Heidegger’s Hütte in Germany’s Black Forest; the journey occasioned a series of works in acrylic and watercolor on paper—the signature medium through which Leal has built his unique position among the artists of his generation—depicting the hut, its physical surroundings, and, more broadly, imagery evoking the philosopher’s inner world. Leal seems to have been struck by Heidegger’s need to create in isolation—something that surely took the artist back to his own childhood, when he would eagerly daydream of faraway places while growing up at his family’s house in the countryside not far from Seville. More recently, however, much of Leal’s work has revolved around references to American culture—not so much the country’s modern or contemporary art but rather its traditions

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