In Manu Blázquez’s second exhibition at the Pazycomedias Gallery, the main focus has been put on one of the most profound aspects of his work, the process. A process resembling a writer’s own, not so much because of functional aspects such as composition, but rather because of the writing process itself and its somewhat classical sense of storytelling.
Process and Final Art make up an inseparable binomial in Blázquez’s work, very much like Time and Space. The balance between both concepts, the kind of balance which is difficult to perceive if attention is paid only to the actual looks of the works exhibited, is the basis for his work. Of all the meanings one could attribute to the term Essay in this exhibition, perhaps the one that represents the intention of the author the best would be Trying. The purpose is not to achieve an ideal of perfection or beauty based on trial and error, but acquire a logical and Calvinistic sense in which one can always wonder "Quale storia laggiù attende la fine?" (1)
It is not much that can be expected from a discourse that has neither words nor images. The lack of a point of view, either formal or narrative, leaves the subject open to any and all interpretations. The matter of the fact is, Blázquez´s very project depicts a process of disappearance, and it is for this reason that one feels drawn to it. Adopting a systematic working schedule and using standardized paper formats are not symptoms of comfort or cowardice, but the result of a distinct intention to disappear amidst an endless struggle of eloquent silences.
The works exhibited on this occasion make up three series, which in turn belong to two different research paths. The first is a large format series composed of 10 pieces (180 x 110 cm. each). It explores and develops the succession of square numbers through a squared structure, which is repeated throughout the sheets. The random component of the bottom sheet deserves a mention. Each piece is composed of two overlapping sheets. The upper one registers and represents the sequence accurately, while the lower one lends itself to the "whims of fate", subject to physical and working issues such as varying levels of hand pressure and blade replacements, among others. The symbiosis between the sheets shines through thanks to the presence of white. We could be looking at a succession of unexpected numbers. The second series consists of 100 embossed pieces and their respective studies in perforated paper, where, again, the succession of square numbers is established, though this time on a different page format and grid. This series is conceived as a study of a project done for the Tocador Hall of the Lázaro Galdiano Museum in Madrid. Lastly, a series of 6 A4 + pieces presented in pairs, showing certain relationships between the different DIN A formats within the A4. The base design on the top -and most visible- part of each piece serves as culmination and fits the notion of process developed throughout this exhibition.
Manuel Blázquez (Valencia, 1978) muestra en sus inicios un fuerte interés por el dibujo técnico y el graffiti, que desarrolla en los estudios universitarios de la Jaume Primer de Castellón. Tras el primer ciclo en Publicidad y un período de experiencia como diseñador gráfico, se traslada a Italia donde comienza el estudio de la Gráfica Artística en la Academia de Bellas Artes de Lecce bajo la guía de Glauco Lendaro y Donatella Stamer, que le transmiten la pasión por el papel y el sentido del segno como elemento fundamental del grabado. Le sigue una larga experiencia en la Academia de Bellas Artes de Bolonia, donde se diploma con una tesis titulada Comunicazione e riproducibilità, y trabaja dos años como asistente del profesor Cataldo Serafini. A finales del 2011 inicia una nueva etapa en Grecia junto al profesor de Grabado Xenis Sachinis de la Universidad Aristóteles de Tesalónica. Actualmente reside en Valencia donde profundiza su investigación entorno a los códigos numéricos y sus posibilidades plásticas.
(1) What story awaits its end down there? (Calvino I.)