The innocent logic

Balda’s pictorial space is a space of tension, of construction and of rupture; of adding and removing; an active space where the different shapes coexist and trespass their own limitations. Most of his plastic proposals have to do with his architectural skills, with the idea of constructing new spaces almost always from what is already constructed, from existing elements. Balda works each picture as a sum of shapes that are overlapping, that intersect and break and limit the final form with a particular system of order that recalls urban networks. In this work of art belonging to the La lógica inocente (Innocent logic) series, which had continuity in other subsequent series, such as Ansiedad Simulación (Anxiety Simulation), one can already see the complex creative process of the author’s painting, based on the, almost sculpturesque, use of colours. A vocation of approaching the third dimension that has already become apparent in later works by Balda: the assemblies, the irregular constructions with volumes that increasingly protrude from the wall, are the next step in the aforementioned series. For Javier Balda black is not a dramatic colour. It is the colour with which he builds, just like the white serves to reinforce the idea of geometry in his works. He almost always combines these two colours with a single colour in each artwork or at most two and not just any colour: green, blue, red or yellow. He says that he paints like someone who undertakes a gestural process of constructing images on a support base and the result always revolves around architecture, geometry, gesture and paint as a material. And this is another of the essentials of his proposal. Balda’s painting combines the passion and the playful act of painting with the rationality of architecture; vertical with horizontal, the idea of time arrested along with elapsing time. Always open to changes.
Alicia Ezker Calvo