Updated: Apr 22
Irony and acquiescence, archaism and subversion are some of the artistic principles that distinguish the sculptural work of Gerard Mas (Sant Feliu de Guíxols, 1976). The exhibition seeks to place emphasis on the different registers used by the sculptor from Girona in his concern for all things sacred, including hieratism, bestiaries, the wax technique, childlike ingenuousness and the existential and popular dimension of ex-votos. In Montserrat, Mas has added a layer of depth and candour to his natural aesthetic fascination for votive sculpture. Delving in memory, he identifies the virginal purity of the child, to whom he renders homage in the majestic portrait that presides over the collection (Ex-voto, 2019). Gerard Mas usually displays his popular ladies as completed, gleaming and polychrome. In contrast, here he chooses to present them in a state of combustion (Ciris, 2019). The grins that unsettle their Renaissance faces now merge into the irregularities of the melted wax. We can also detect this deconstructive spirit in the great opening installation: a set of procedural sculptures, fragments of work dating back to all the artist’s periods that are used to make the final sculptures (Vestigis, 2010-2019). Feet, hands, heads, birds and various limbs of beasts which, in their fragmentary ensemble, function as an extraordinary choral offering of ex-votos.