I have already had the opportunity to refer – years ago, in these pages – to the extraordinary condition of Guillermo Pérez Villalta (Tarifa, 1948) in the Spanish artistic panorama. Something which, on the other hand, is obvious to anyone who knows his background and is aware … which has essentially been done in recent years.
But the constancy of a singularity like his, going against the grain of so many things that are simply canonical today, is not enough to promote the work of this artist, a fundamental name in our art for decades. Beyond its incontestable recognition, What does Pérez Villalta offer to today’s public, besieged by ideologies, rigors and technological means, where sensationalism predominates to the detriment of quality?
Let’s say that the context transformed it into an alternative artist in his own right. He is interested in beauty, proportions, balance, form; terms that today seem taken from a Renaissance or Baroque textbook. Geometry is no longer the basis of his actions, but of his artistic conception: through it he orders his gaze and structures his works. It’s a classic, yes; but one who looks with the sensitivity and experience of a man today.
Guillermo Pérez Villalta: “Paintings (2023-2025)”
Fernández-Braso Gallery. Madrid. C/ Villanueva, 30. Until January 10. Four stars.
And this is precisely the wonderful challenge that the recent drawings and paintings that make up this exhibition at the Fernández Braso gallery offer the contemporary viewer: to stop and contemplate the coherence of a dazzling poetic world, full of knowledge and the fruit of his strict imagination.
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