RAMÓN DAVID MORALES

Del rectángulo a la puerta. Del agua al celeste.
From a Rectangle to a Door. From Water to Sky.

 Ramón David Morales (El Viar, Seville, 1977) presents Del rectángulo a la puerta. Del agua al celeste” (From a Rectangle to a Door. From Water to Sky), his first individual exhibition at Galería Rafael Ortiz, where he shows a group of paintings that are difficult to label without resorting to simplification. In each one of them dwells the essence of an image crowned with the right color. We find basic architectures; virgin or softly intervened geographies; ancestral, daily, technical or divine objects; nature and celestial bodies. Memories of an absent and necessary primary life.

The creative process of the painter goes beyond the copy of a motif: Ramón David Morales returns reality to the world of ideas that he depicts through an exercise of conceptual synthesis that transforms the image of the thing into an elemental expression of beauty. The apparent simplicity exposed to the viewer’s gaze hides a deep analysis of the four pillars of his work: motif, form, color and matter. 

The modern primitive man exists, and his long gaze, of great intuition and joyful sensitivity, is in charge of rescuing from the noise that which passes silently before us: objects, scenes or landscapes. A way of seeing the world that challenges the limits between ideas and the material reality they represent.

The painter begins by distilling the form of the object until reaching the most basic structure behind it. This architecture of the fundamental, composed of the necessary and sufficient elements, is what the author intervenes and works with by applying color. By freeing things from their meanings emerges a construction of solidary planes that with firm naturalness converse through a recreated and rational language of color. All of them, conscious of themselves and each other, sprout from a modular brushstroke, slow and well embodied, that brings life back to structure, in a way similar to the rebirth of the earth after plowing.

What seemed almost geometric or figurative, pre-abstract and pre-minimalist, post-classical and precontemporary, preconceptual or pre-cubist, post-fourteenth-century, with a Romanesque or Andalusian influence, is in fact the materialization of what happens in the place of minimum expression and maximum beauty: a thing becoming an idea.

Muñoz y Diezma.

 Seville, December 2023