Assumpció Oristrell

Assumpció Oristrell Salvà, born the August 10th 1956 with Sabadell (Barcelona), is representative of the new generation of the Catalan artists who renewed the work inaugurated by Antoni Tàpies in the field of the matters. Its painting, starting from the abstraction, joined the Sculpture by the use of wood, metal or fabrics and integrates the Collage printed papers form and writings.

After having attended 1975 with 1978 the School of Art Massana of Barcelona, Assumpció Oristrell deepens 1982 with 1986 its practice of the Lithographie and Gravure. It is freed quickly from any figuration and the tendencies Cubistes then Surréalistes which underlie the expression of its first drawings and engravings. In 1989 its lithographies and its paintings with the acrylic resin do not gather any more but of broad purified surfaces, in turn intensely coloured then land, which set up the elements characteristic of its pallet, the yellows and ochers, the blacks and the gray.

Among others Low-relief S of wood painted and incised original signs, frequently three-pronged forks and wheels, Oristrell, in the series of its Windows , realized between 1995 and 1997 and presented to Barcelona in 1995, to Lausanne in 1996, leaves the plane space of painting. Covered with sands and cements, powder of marble and pigments, the abandoned frames or casements that it recovers and désarticule to pair some freely the elements overflow the rectangular surface of its fabrics, introduce three-dimensionality there.

" The windows and the balconies always attracted me, but not as well for as they represent opening on outside than for than they keep in them, like metaphors of the interior of the hommes" , she says ( Oristrell , Books of Penitent, Ciotat, 1998). Its windows do not open on the diversity of the spectacles of the outside but, contrary, on the intimacy of the imaginary houses of which they diffuse like the halations. Surfaces of wood where the anonymous cracks, cracks and scratches register the invisible passage of the duration, and stuck papers that it integrates there, illustrations of old schoolbooks, fragments of newspapers or partitions, old letters to the yellowed envelopes, engage Oristrell, closest to its Catalan origins, in a first voyage, with the length of time.

In the series Mediterranean , exposed to Barcelona in 1997, Assumpció Oristrell mixes the blue pigments with red ochers and grounds. New signs, scales and crosses various, allusive silhouettes of vaults and arcades, involve in another voyage, this time in space. " What interests me in the symbolic system, it is the connection and various interpretations of the same symbol by various cultures, especially through the traditions of the the Mediterranean and the Africa, space of hot and conflict ground, origin of all our histoire." known as Oristrell ( Oristrell , catalogs, Barcelona, 2002).

The stages of its work appear thereafter associated with its meetings with new areas with the world, the Burkina Faso, the Mali and the Togo ( Africa , 1997 - 2000), then the South Africa ( streets of Durban , 2000 - 2001). More than according to the landscapes, it is around the written forms of the country Dogon, of the structure of constructions and the profiles of the minarets that develop, in the elementary colors of the Arts first, its successive series. Oristrell engages there a dialog which reveals the relationship, in the vast space of the Mediterranean and sub-Saharan cultures, of the gestures of human hand. First demonstration of its passage of the sign to the writing, it starts to introduce on its works, like notes of voyage, of the short hastily handwritten inscriptions.

In 1999 and 2000 Assumpció Oristrell returns Catalan topics parallel to from there, taking as a starting point the architectural elements of the old textile factories of Sabadell, connecting urban structures and African forms, graphics of the electric cables and combs of the weaving looms.

It begins again in 2001 and 2002 its voyage, always more in the east, until the Egypt ( Alexandria ), 2001). Vegetable and metal wire Reprisées, based on the harmony of the white, plasters, marble, cement or cotton, of ochers and the " news couleur" , between yellow and red, which the Oxyde represents, works of the series Fils and scrap (presented to Barcelona in 2002) introduce, on the openwork fabric or wood, of the plates of iron, recalls of materials re-used for the vehicles of the African roads or of let us tons rusted barges of the Niger and the Nile, whose Oristrell adds the allusive signs to its vocabulary. Appear in its works of many joinings of Arab printed papers form, but also, in 2003, some of the signs of the dishes and the vases Kabyles.

In a more recent series, Écrits strokes of it , that it composes after several voyages through the Iran, Assumpció Oristrell joins again with the regularity of rather square formats. Introducing one moment among its matters the transparency of fine gauzes, it reduces then the range of its colors to the blacks of volcanic sands, the white of cements and more or less pushed oxidations of the iron powder, compact or diluted. In its step actively pluriculturelle, it mixes with joinings with pages from now on Persians with the texts of various origins, directly handwritten on the fabric at the edge of legibility, in particular of the fragments of poems of Ausiàs March, one of the figures of the Catalan literature of the 15th century.

Composed on the burst surfaces, connected by mean segments of sentences, these inscriptions, in the spirit at the same time of the marginal comments which enrich the Eastern manuscripts and by the provisions of their poems by the Grands Rhetoriqueurs French, can freely evoke the shapes of birds, trees and fish, like the reasons purely abstracted from weavings or the traditional potteries.

Principal exposures

1980, Salted Gargots, Sabadell

1981, Caixa de Pensions, Barcelona

1988, Sala Negro, Sabadell

1989, Acadèmia de Belles Arts, Sabadell

1992, Sala Negro, Sabadell

1993, Galeria El ground, Granollers

1994, Galeria Boixareu, Sabadell

1995, Galeria Verena Hofer, Barcelona

1996, Galerie Niu d' Art, Lausanne (text of Florence Grivel)

1997, Galeria Rosa Ventosa, Barcelona

1998, Acadèmia the Beautiful ones Arts, Sabadell; Vault of Penitent Blue, Ciotat (foreword of Mr. Jordi); " Europart" , Geneva (coll)

1999, Center Nau, Sabadell; Galerie Callu Deserves, Paris (coll)

2000, Galerie Daniel Amourette, Rouen (foreword of Michel-Georges Bernard)

2001, Ateneu, Cadaqués; Galeria Nova, Sabadell

2002, Galeria Shatevín, Barcelona (texts of Oristrell); Installation, Gérone

2003, " MolletArt 2003" , Museu Abellô, Calf del Vallès (coll)

2004, Galeria Nova 3, Sabadell

2006, " Escrits Al marge" in marge" , with an installation (" In the mirror, are you look at yourself so merry? " ) Gallery Rua of art, Manresa; " Escrits Al marge" , Galeria Nova 3, Sabadell

2007, Living room of New Realities, Paris (coll)

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