From the first, Catalan artist Ignasi Aballí has questioned the notion that painting is an eminently visual device. He began working at the end of the 1980s, when the weariness produced by the painting overflow of that decade impelled many artists to reflect not so much upon what was to be seen but rather upon the conceptual framework that made it visible. For Aballí, this led to a practice based more on suggestion than on explicit presence, in which painting was active as an idea and not as a physical entity, and images were to belong to the realm of the mind rather than to that of the eye. Aballí began to paint without painting, so to speak, focusing more on the operation’s hidden inner processes, eventually relegating traditional activity in the medium to the sidelines.
Following an outstanding retrospective at Madrid’s Museo Nacional Centro de Arte Reina Sofía in 2015–16, Aballí
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