GRADUAL STRUCTURES & HOMAGES
Roger assiduously studies the History of Art aimed at achieving a solid and original work. He finds and pays special attention to approaches, similar to his own, that other artists have had on art and creative processes to incorporate them into the body of his work. During this process and in a natural way, he has come up with pieces in which he pays tribute to his most important references. In these series he captures the aesthetic and conceptual findings that he finds interesting from these pioneers, with his own creative and technical concerns.
HOMAGE TO LE WITT
GRADUAL STRUCTURES
In the drawings Homage to LeWitt, Roger starts systemizing the use of the pattern to show how the three dimensional space can be modified and even simulated in a flat representation. With this precedent, a new series comes up where twelve paintings by Mondrian, of different periods, are volumetrically reconstructed. Color and pattern, strictly subject to an isometric perspective are linked to build between volumes represented without being distorted by the visual perspective. Space and chromatic relations become explicit, not being able to discern which is used to build the space to a basic level: he shows the laws imposed to build the painting by watching the painting itself. In this way the attention is focused in a more rational and less intuitive way on the structures in the canvas rather than on the shapes and lines.
Based on "Composition in Color A" (1917) by Piet Mondrian
Based on "Composition with Grid" (1918) by Piet Mondrian
Based on "Composition" (1920) by Piet Mondrian
Based on "Composition with Red, Yellow, Blue and Black"
(1921) by Piet Mondrian
Based on "Tableau 1" (1921) by Piet Mondrian
Based on "Composition 2" (1922) by Piet Mondrian
Based on "Composition with Black, White, Yellow and Red"
(1939-42) by Piet Mondrian
Based on "Composition with Blue and Yellow" (1935)
by Piet Mondrian
Based on "Composition with Red and Grey" (1935)
by Piet Mondrian
Based on "New York, New York" (1941-42) by Piet Mondrian
Based on "New York City II" (1942-44) by Piet Mondrian
Based on "Broadway Boogie-Woogie" (1942-43)
by Piet Mondrian
GENTLE GEOMETRY
By taking the masking tape used for Gradual Structures as chromatic material, this collection of small-format collages emerges. The central figures that define the way in which the tape fills the surface are taken entirely from these canvases, thus preserving the isometric aspect of these paintings. In Roger's creative process, it is usually the idea that determines the material to be used, but in this case the material is the one that prevails and guides the artist in the creation of the image.
LHOSE AND MALEVICH TALK
MALEVICH, YELLOW AND BLUE
The work is made up of four pieces made with numerous square canvases assembled together. Although it emerged as a tribute to Malevich and his pioneering Black Square, it evolved in the process to become an illustrated summary of Roger's studies on geometric abstraction as a pictorial language. We discover four dark paintings (in reference to the four black squares that Malevich painted) that incorporate in their visuality many concepts of other abstract artists/movements: the primary colors of Neoplasticism, the corporeity of the Hard-edge, Joseph Albers black paintings, until reaching the idea of creating an images by pixels. This work constitutes in Roger's career, the beginning of the use of the square and the pattern as a mechanism to create the pictorial image.
