A question of taste

Abstracted spaces and forms, which become an almost scathing realism because of the close and subtle nature of their material treatments, nonetheless become organised in a fantastically intricate way, intersecting to open up an imaginary world that holds a rich dialectics with the textural quality of the surfaces.
For the fantasy of the viewer, the colours and shapes offer a vision of a fragmented, albeit not tortured world, that is rich and pleasantly caressing of the senses. When contemplating the work of Irujo, we can identify ourselves in the words of Thomas Crow: “Advanced painting in the West has left behind a secret, disconnected shadow of a history, a recoverable account of outsiders’ predicaments and feelings...”*
The same dialectic appears as expressive element between the sumptuousness of matter and the paucity of the colour range, rich in nuances in itself. At the same time, Irujo uses a language of open space that houses a symbolic breaking of boundaries, that creates a vortex of rhythms in which the centre and the ends are shown in a constant dialogue of opposites.
The near and far, the real and the unreal, the concrete and the abstract, the sumptuous and the poor, are the dialectical games that are offered in this work as metaphors for the everyday with great technical wisdom. It is, in short, the eternal game of give and hide, but offered in an updated and very personal language.
A painting that is intellectually demanding, in which one gradually discovers a unified order within a field of complex and challenging visual problems, that give a beginning to a form of inner life. Meanings of an artistic context of crisis that present a world in which the viewer feels projected —from outer chaos— a work in which a principle of systematisation is offered, updated by its own creative and transgressive impulse.
Isabel Cabanellas Aguilera