Influenced by surrealist automatism, he later creates works between abstraction and the technical-technological, due to their materials (laminated resins) and their appearance. All of them evoke in a dreamlike way figurations and narratives that the spectator has to interpret with his own baggage and imaginary.
Garcinuño is interested in the chromatic play and compositional economy, which he reduces to brushstrokes, games of textures and volumes with masses that of textures and volumes with masses that generally attract the force to certain points of the work.
“Totum Revolutum” from Latin, means: set of things without predetermined order. This, perhaps, is what the viewer may think when seeing a work by Kike. However, the artist plays with the composition in a masterful way creating an organized chaos that represents him perfectly.
The works selected for this exhibition represent the different facets and series of the artist, allowing the public to savor the essence of Kike Garcinuño.
As the novelist Jacobo Bergareche says “I could have known that a painting by Kike was by Kike without being told. He is the same joyful chaos of colors that he brings to his paintings, the controlled explosion that seems to overflow the canvas, the constant accident that ends up creating a universe.”
“To talk about Kike Garcinuño is to stain Kike Garciñuno. What is born of mystery and widens it should not be explained. St. Thomas Aquinas, who was surely the one who best understood the ineffable, the mysterious, wrote that the most we can know about God is that he always surpasses everything we can think of him. Something similar happens with this stubborn, irreverent and brilliant artist, who has limited his adventure to colors and their emptiness, to that weightlessness tenant of another universe far away but there, in sight of all. Something similar happens with his work, as excessive as it is concrete, as unapproachable as it is contained, as sophisticated as it is close. And everything, in the end, ends up in a single look, in a single talent. Garcinuño paints with his gullet. Gacinuño lives by putting all his guts into his reality. And so, with his body, he goes through life happy. He goes confidently. His art confirms his work in this world, his occupation. His long hair and his smile of eternal naughty boy certify his enthusiasm, which means, as we know, to carry God inside. He carries it without believing it or with no other pretension than to pour into the drawing his invitation to the world, the astonishment to which we end up obeying. Whoever approaches his work looks at a truth to dry, to a world that lasts. And all the rest, it dirties.” – Alejandro Simón Partal