September 01, 2019
I am in recent times projecting images to redraw them. Photographs or frames of videos. A domestic magic lantern, a journey through my YouTube favorites and the fake multicolored pencil game is all that hides the suggestion. I present mural drawings on paper that are at the same time artist books displayed. Smooth paper, without texture, where the light refracts smoothly until the next fold. Basic material as a support, on which I have drawn lines made with colored pencils, pastels and markers. Wall drawings. A large format to induce immersion to the viewer within the surface of the paper. The line is a line of changing colors that travels between areas of light and shadow. Fata morgana. An iridescence of the line as if it were an atmospheric effect or a meteorological phenomenon.
On Manuel Olías
Extract of “La difracción y la memoria de Manuel Olías”. Marisa Giménez Soler at MAKMA Jun 2019. https://www.makma.net/la-difraccion-y-memoria-de-manuel-olias/
“In recent years we have only received the echo of his work through exquisite advances that appeared in collective exhibitions such as those that took place in the Manuela Ballester gallery of the University of Valencia, 12 Islas or in different artistic events held in the city of Valencia as the SINDOKMA Book Festival – by the Museo del Ruso -, the festival ConFusion or Enfocarte.”
“(…) artist allergic to the conventional, soaked in transgression and technology, that moves with the ease of poet between the myths of the counterculture and the permanent beauty of his classical references (…)”
Portada, dibujo uno.
17×24 cm. Marcas de papel carbón y lápices de colores sobre papel. Madrid 2010
Extract of “El Ramalazo punk de Manuel Olías”. Rafa Martínez at dximagazine Jul 2019. http://www.dximagazine.com/2019/06/04/el-ramalazo-punk-de-manuel-olias/
“Between ten and fifteen years ago, Manuel began to make the series of drawings of which he now shows a selection. For this purpose, everything that has come to pass has been used: markers, waxes or simply colored pencils.”
“Because if there is something that attracts attention in these works, it is color: the use it makes of it, completely free, looking for the effects it sees — or thinks it sees; we talked about the book by Arthur Zajonc: Capturing the light (Atalanta) — in the images, in the chosen referents (or in his absence); the latter frequently extracted from the current means of mass formation (so to speak with an expression of the teacher Agustín García Calvo).”
“They have frequently projected drawings in which the color, and with it, the line, refracts or breaks in favor of other continuities or gaps.” (…) “He appropriates images of the collective imaginary, characteristic of liquid and postmodern times in which we have been given to live, to make them his own. Or from the viewer.”