Ramon Surinyac uses pictorial matter and gesture to build his new paintings on canvas. He organizes the forms by means of a slow and fluid calligraphic drawing which expands on the surface to propose a visual game to the viewer, and leads them to discover, from an almost mimetic figuration, the most gestural abstraction.
Surinyac starts with real images, often natural landscapes, which he analyzes to obtain the elements that will help him build the painting.
Each of his paintings is organized from the dialogue that emerges between the accumulation of small chromatic spots and the white pictorial surface. Empty space prevails, which makes it easier for the eye to interpret the shapes as defined structures and allows the viewer to complete the image.
When we approach Surinyac's paintings, seduced by the landscape, we are surprised to see that the structure of the surface, the calligraphic gestures and the chromatic diversity disclose their pictorial language.