“… The same thing happens with the coats (Mantos) paintings that he has stripped from the heavy stretcher that reinforced them as objects, turning the cloth that hid them into an extension of the painted surface, with visible traces of the work. Murado describes and discusses the process: “This is the first ida y vuelta influence of the craft of making furniture towards my paintings, and it is arrived at precisely by withdrawing from them that which is most furniture-like: the stretcher… We could say that, structurally, a painting is an upholstered wooden furnishing that is painted on.” After the synthesis, he goes on: “Several things happened when the stretcher was removed. First, the edges of the fabric that surround the structure and do not belong to the painting came to the fore, revealing what happened during the execution of the work. Another thing was that, by hanging them a few inches from the wall, they moved slightly as draperies or tapestries, showing the nature of the fabric from which they are made; in this case a thick, very heavy, Belgian linen. They showed themselves as art objects and not just as vehicles. They also became able to adapt to any incidence and obstacle on the wall, they were more adaptable and more independent from their environment: not touching the wall or the ground grants them a mystical nature to which I am almost addicted. In addition, when linen is free from the stretcher, it registers changes in humidity and moves with air currents, coming to life.” It is the temptation of bringing paining to life, of showing that it breathes. The truth is that, when still, their appearance resembles Baroque Galician altarpieces, with shapes and weights that boldly advance towards the viewer. Not being anchored to the ground, however, they acquire a sense of lightness and mystery, a kind of restlessness.”
Miguel Fernández-Cid, 2014
Extract from the text for the upcoming catalog of the CENTRAD exhibition in Lugo,Spain.
Translation: Sara Murado Arias