Jordi Curto Milà

In the pictorial work of Jordi-Enric Curto i Milà, up to 2010, we can identify four principal types of different objects, according to the system of execution.

In the first place, some occasional works of a more academic appearance, addressed to a personal interpretation of the relationship between material colour and light colour, tend to be based on experimental palettes or reductions of the palette of Joaquim Mir: observe “Cadaqués al vespre,” “El dia de les dones,” “Conversa a Wall Street,” “L’home del piano,” “El pi,” “L’àgora,” “Gesatpai,” “La barca del veí,” “Sabathdance” or “Raval”.

Secondly, oils on paper, half abstract and half figurative, arising out of the development of informalist chromatic exercises by means of the reading and subsequent transformation of the residual and apparently arbitrary forms that emerge from gestural crossover, the movement of oil on paper or the uncontrolled superimposition of layers of various tonalities.

Within this second model we find “Èxtasi,” “La finestra vermella,” “Alamut,” “Bocana,” “Keuper,” “El bany,” “Espai suburbà,” “Gira-sols vius,” “Pla de viatge” and “La casa de G...”

Thirdly, oils on canvas, with a much slower production process than the oils on paper, using the same system but with figures and signs that do not emerge directly from the strict pictorial discourse but incorporate themselves a posteriori to make it more sophisticated or more complex. This is exemplified by “Nens jugant a la sorra,” “Teoria Monàstica,” “La falsa finestra,” “Estudi amb guitarra i piano,” “Dorsoduro,” “Psicopatologia quotidiana,” “Florista,” “Tempus fugit,” “La regadora a l’Arcàdia” or “Encreuament de cardinals.”

In the fourth place, studies and small-format works addressed to the understanding of graphic and chromatic schemes but with their own intrinsic value, since the tonal contrasts and textures and vectors that support them generate possible meanings that make them valuable within the body of work as a whole.