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Nature seeps into art through the materials that make it possible. From this point of view, I am not so much interested in "pictorial matter" as in the strict sense of the word, but rather in the element itself. This is how matter is introduced into my work: firstly,through the addition of pigments, and lastly through their subtraction. My works are generated following a parallel process to that of nature in the conformation of its textures and forms. The four natural elements - water, earth, fire and air - are the components that serve as the basis for the creation of my “pictoesculturas". The mineral pigments and the lands I choose are eroded and transformed into the work through these tools. It is the only way to create something natural and which appears to be unaltered by man. Like poetry, my work is conceived in a world of ideas; but unlike poetry, it doesn’t use words but rather appeals to natural elements to reproduce a new natural reality. I’m looking to create something that is real in itself; that doesn’t require any type of explanation. It is about bringing to life the invisible forces that govern Mother Nature —extracting her essence. Nature isn’t abstract, each element is designed to carry out a corresponding purpose. It’s role in our life is hard to predict. Why are certain shapes drawn in the sand and not others? Where is the secret that makes the mud crack, forming clear geometric and proportional figures? This work show the effects of climate change on nature and are included in the artistic current called "Mineral Poetics", created by Pin Vega in 1990 with the purpose of claiming, always from beauty, a cleaner planet.
Nature seeps into art through the materials that make it possible. From this point of view, I am not so much interested in "pictorial matter" as in the strict sense of the word, but rather in the element itself. This is how matter is introduced into my work: firstly,through the addition of pigments, and lastly through their subtraction. My works are generated following a parallel process to that of nature in the conformation of its textures and forms. The four natural elements - water, earth, fire and air - are the components that serve as the basis for the creation of my “pictoesculturas". The mineral pigments and the lands I choose are eroded and transformed into the work through these tools. It is the only way to create something natural and which appears to be unaltered by man. Like poetry, my work is conceived in a world of ideas; but unlike poetry, it doesn’t use words but rather appeals to natural elements to reproduce a new natural reality. I’m looking to create something that is real in itself; that doesn’t require any type of explanation. It is about bringing to life the invisible forces that govern Mother Nature —extracting her essence. Nature isn’t abstract, each element is designed to carry out a corresponding purpose. It’s role in our life is hard to predict. Why are certain shapes drawn in the sand and not others? Where is the secret that makes the mud crack, forming clear geometric and proportional figures? This work show the effects of climate change on nature and are included in the artistic current called "Mineral Poetics", created by Pin Vega in 1990 with the purpose of claiming, always from beauty, a cleaner planet.
Nature seeps into art through the materials that make it possible. From this point of view, I am not so much interested in "pictorial matter" as in the strict sense of the word, but rather in the element itself. This is how matter is introduced into my work: firstly,through the addition of pigments, and lastly through their subtraction. My works are generated following a parallel process to that of nature in the conformation of its textures and forms. The four natural elements - water, earth, fire and air - are the components that serve as the basis for the creation of my “pictoesculturas". The mineral pigments and the lands I choose are eroded and transformed into the work through these tools. It is the only way to create something natural and which appears to be unaltered by man. Like poetry, my work is conceived in a world of ideas; but unlike poetry, it doesn’t use words but rather appeals to natural elements to reproduce a new natural reality. I’m looking to create something that is real in itself; that doesn’t require any type of explanation. It is about bringing to life the invisible forces that govern Mother Nature —extracting her essence. Nature isn’t abstract, each element is designed to carry out a corresponding purpose. It’s role in our life is hard to predict. Why are certain shapes drawn in the sand and not others? Where is the secret that makes the mud crack, forming clear geometric and proportional figures? This work show the effects of climate change on nature and are included in the artistic current called "Mineral Poetics", created by Pin Vega in 1990 with the purpose of claiming, always from beauty, a cleaner planet.
Nature seeps into art through the materials that make it possible. From this point of view, I am not so much interested in "pictorial matter" as in the strict sense of the word, but rather in the element itself. This is how matter is introduced into my work: firstly,through the addition of pigments, and lastly through their subtraction. My works are generated following a parallel process to that of nature in the conformation of its textures and forms. The four natural elements - water, earth, fire and air - are the components that serve as the basis for the creation of my “pictoesculturas". The mineral pigments and the lands I choose are eroded and transformed into the work through these tools. It is the only way to create something natural and which appears to be unaltered by man. Like poetry, my work is conceived in a world of ideas; but unlike poetry, it doesn’t use words but rather appeals to natural elements to reproduce a new natural reality. I’m looking to create something that is real in itself; that doesn’t require any type of explanation. It is about bringing to life the invisible forces that govern Mother Nature —extracting her essence. Nature isn’t abstract, each element is designed to carry out a corresponding purpose. It’s role in our life is hard to predict. Why are certain shapes drawn in the sand and not others? Where is the secret that makes the mud crack, forming clear geometric and proportional figures? This work show the effects of climate change on nature and are included in the artistic current called "Mineral Poetics", created by Pin Vega in 1990 with the purpose of claiming, always from beauty, a cleaner planet.
Nature seeps into art through the materials that make it possible. From this point of view, I am not so much interested in "pictorial matter" as in the strict sense of the word, but rather in the element itself. This is how matter is introduced into my work: firstly,through the addition of pigments, and lastly through their subtraction. My works are generated following a parallel process to that of nature in the conformation of its textures and forms. The four natural elements - water, earth, fire and air - are the components that serve as the basis for the creation of my “pictoesculturas". The mineral pigments and the lands I choose are eroded and transformed into the work through these tools. It is the only way to create something natural and which appears to be unaltered by man. Like poetry, my work is conceived in a world of ideas; but unlike poetry, it doesn’t use words but rather appeals to natural elements to reproduce a new natural reality. I’m looking to create something that is real in itself; that doesn’t require any type of explanation. It is about bringing to life the invisible forces that govern Mother Nature —extracting her essence. Nature isn’t abstract, each element is designed to carry out a corresponding purpose. It’s role in our life is hard to predict. Why are certain shapes drawn in the sand and not others? Where is the secret that makes the mud crack, forming clear geometric and proportional figures? This work show the effects of climate change on nature and are included in the artistic current called "Mineral Poetics", created by Pin Vega in 1990 with the purpose of claiming, always from beauty, a cleaner planet.
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MERCURIAL VI Painting

Pin Vega

Spain

Painting, Acrylic on Plastic

Size: 25.6 W x 31.9 H x 1.6 D in

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About The Artwork

En esta obra, he empleado acrílico y resina para invocar la vivacidad y profundidad en cada pincelada. Los pigmentos se entrelazan, creando un diálogo visual que resuena con pasión y energía. Esta pieza es un reflejo de las emociones más crudas y sinceras, una representación realista que no solo captura una imagen, sino que cuenta una historia a través de sus colores y formas. Esta pintura llenará cualquier espacio con un vigor y un espíritu que invita a la reflexión y al asombro. Ésta es la sexta de mis pictoesculturas inspiradas en el mercurio. Con una elaborada técnica que mezcla resina epoxi y espejo de metacrilato he conseguido la apariencia de mercurio líquido fluyendo entre las piezas de resina. El primer emperador de China, Qin Shi Huang fue enterrado en el denominado "Mausoleo de Qin Shi Huang", que contenía ríos de mercurio que fluyen reproduciendo un modelo de la tierra gobernada en el que se representaban los ríos de China)

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Painting:Acrylic on Plastic

Original:One-of-a-kind Artwork

Size:25.6 W x 31.9 H x 1.6 D in

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When he was just a child, as a christening or as a harbinger of artistic experience you would experience as an adult, during a vacation in the swamp of Guadalmellato in the province of Córdoba, PIN decided to dive into the deep waters of this reservoir for unmask the mystery of strange formations clay mineral composition from the shore that were introduced in the water under the strong character of a vein mineral. After your swim initiation, plunged again. But not this time in the shallower waters of academia, resulting in numerous outstanding and Honours in the Faculty of Fine Arts in Madrid Studied in four intensive years of the five career lasting, perhaps precipitated by their desire for independence within the art scene. Studied Fine Arts in photography with Cristina García Rodero and Matilde Muzquiz, audiovisual sculpture and three years, ending specialty degree in painting in 1992. Already in 1990 after feeling prepared technically and mentally decided to introduce in the academic art that he occupies today and that feels irrevocably drawn. Later also devoted to teaching drawing him especially expansive creativity of children. Exhibited for three consecutive years in different cities of Germany falling in love with your color palette and its velvety finish that stage the German public, which keeps a fond memory. Specific pigments selected for their works suggest the most basic human concerns. Pigments of the highest quality and purity, and preferably, due to its purist technical preparation of mineral origin. At first only worked with essentially warm colors and matte finishes but in their evolution eventually incorporate most beautiful blue, bright finishes, emulating water surfaces and the present absolute green, as the color of life. His work presents a language recognized by everyone, a timeless mystical perception. As happens in nature all depends on how you look and what you want to see that it is something mystical. The spaces you'll discover below, are illusory spaces but analogies with real spaces, realities in themselves. PIN, attracted by the unknown seeks to create mystery through elements such as emptiness, darkness and the unknown.

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