[-] sculptor, painter and illustrator born in Merida (Badajoz) in 1948. Self-taught. Between 1973 and 1982 up residence Sant Celoni (Barcelona), length of time during which realizvarias exhibitions in the city of Sant Celoni and at several venues in Barcelona. Prior to his move to Extremadura and after his return, he also know his work in Merida, Badajoz, Cceres and Lisbon. Cultivla bronze sculpture in terracotta, Ascom oil painting and drawing various procedures. His style ranges from more or...
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[-] sculptor, painter and illustrator born in Merida (Badajoz) in 1948. Self-taught. Between 1973 and 1982 up residence Sant Celoni (Barcelona), length of time during which realizvarias exhibitions in the city of Sant Celoni and at several venues in Barcelona. Prior to his move to Extremadura and after his return, he also know his work in Merida, Badajoz, Cceres and Lisbon. Cultivla bronze sculpture in terracotta, Ascom oil painting and drawing various procedures. His style ranges from more or less stylized expressionism of his sculptures and surreal inspiration corrosive and some of his paintings and drawings. In some other formulations can see the common denominator of a testimonial spirit of criticism, a complaint from the marginacin, injustice, nuclear terror and social imbalances that beset the contemporary world, that civilization n TECHNOLOGICAL whose greatest achievements seem to turn against man and threatened to become more uncertain and dark. Rafols Dictionary of Contemporary Artists of Catalonia and the Balearic Islands. Barcelona. 1989 BIBLIOGRAPHY: Dictionary of Artists RÀFOLS Cataluña, Baleares, Valencia. Editions, Catalan. Barcelona. Facsimile. Spanish art. Madrid.1979, Pgina. 247 Spanish art. Madrid.1980, Pagina.193 Batik, Barcelona. N 50.Pginas.132-133. Batik, Barcelona. n 56. Pginas.138-139. Artegua. Madrid. n 35. Pgina.36. Arts-plastic. Barcelona. n 24.Pagina.55. Alcntara. Cceres. N 171.Pginas.52-53-54. Alcntara. Cceres. n 190.Pgina.64. EAAOA bulletin of Fine Arts. Madrid. n 15. Pgina.38. Exc bulletin of City Hall, Merida. N 1. Pgina.15. RF Mrida. 1972. Pgina.31. San-Celoni RF, 1975. Pages. Central. Six-Seven, TODAY. Badajoz. n 130. Pginas.8-9. Six-Seven, TODAY. Badajoz. n 125. Pgina.6. Arga. Barcelona, 1978. Pginas.2-4-6-19. Emigration. TELN poverty, Badajoz.1979. No written form. Barcelona.1979. Anden. Badajoz. n 1 Pginas.18-19. Black Book, San-Celoni. Barcelona.1977. Pacheco, Manolo. Poetry to look at a bird Atmic. Exhibition. Muntaner.500.Barcelona Galera, 1978. Cayetano Rosado, Moses. Introduction to the exhibition catalog E[-]os Home-Sculpture-Painting. Barcelona.1978. Galea, Apollo. Leo. Introduction to the exhibition catalog Rivolta room. Merida. Agosto.1981. Ortega Gomez, Rosario. Teacher. Thesis, Barcelona. 1979. Millet, Jordi. Nuclear issue from Extremadura. December. 1978. Gallo Glass. n 15. 1973. Sevilla. To light and to life. Gallo Glass Col. Sevilla. 1975. Correspondence. Badajoz, n 1 P[-]980 ABC Madrid. El Correo Catalan. Barcelona. National Solidarity. Barcelona Extremadura. Cceres. Today. Badajoz. L `stake. Hospitalet. (Barcelona) Peridico Extremadura. Cceres. Promoter Group was a member of UPB Performing Parrot logo for the university, Ascom graphic works for the same. Professor of Sculpture, Painting and Drawing. 83-84-85 years. Participate in the Cultural Week. Uva, GurugProgreso. Badajoz. Batik April 1985. Barcelona. N 75 Pages 84-85. Arteguia. Madrid. Pgina.38. Albendea 1985. Gabriel. Poetry Piedehierro& 39;s work. Sheet X Badajoz.1984 Alcandoria home. Merida. 1984 Pacheco, Manolo PROSEM, to name the sculpture, paintings Piedehierro. Badajoz. 1985 Cayetano Rosado. Moses. Look to Extremadura in the art of Piedehierro. La Roca de la Sierra. Badajoz. Lombo 1975. Jos. Exposition, criticism. April. 1979. Chaurit, Paul. Piedehierro: indelible footprint. Malaga. Agosto.1981 Britons, Consuelo. And else had throat. Constantine. Batik Junio.1986 Sevilla, Barcelona. N 81 pages, 39 Gua de Badajoz. N 78 Pages, 2-3 Batik, Barcelona. N 86 Page, 59 Revista Cultural. Ministry of Culture. Madrid N 61 pages, 7 performs for the congregation of San Felipe Neri de Madrid. San Felipe Neri sculpture. Delegacin of Merida. 1971 In 1973, realizel bust of General Millan Astray. Taking the group, former Legionaries of Merida. Badajoz Realizpara Cceres Bullfighting Club. Raging Bull. 1973 Creator-founder of the annual Exhibition Virgili, Sant-Celoni. Barcelona. Total amnesty. 1979 Founder of the Journal Argao, the Voice Castua Group. Barcelona. RealizMural 1978 with the painter Cacereo. Garzo. Barcelona. Organized 1977, the open-air exhibitions throughout Extremadura. Art in the street. 1977-79-79. Make pster devoted to Extremadura, with the theme: Extremadura there. Old oz. BARCELONA.1977 is published, 1978 There Extremadura postcard. Tribute to Extremadura-always. . Barcelona. Dictionary Rafols. of contemporary artists from Catalonia and the Balearic Islands. Volume No. 3 Page 235-blade N N 559. Barcelona 1989 ideas N 90 N 1 Pages 50-63-67-2 Badajoz. Names of Badajoz 1990, Catalog of culture. Pages. N 135-136. Badajoz. Antonio Zoido 1990-91. R. PIEDEHIERRO. Featured absence. D. TODAY. Badajoz. 1994 Red Cross Espaola. Donation of 21 works graphics. Mayo.1994 Dictionary of painters and sculptors of the twentieth century Spaniards. Forum-Artis. SA Volume Pgina N N 11 3321 1994 Web is published .. rafaelpiedehierro.es May 20, 2006. Poems. Feelings maze. Centro de Estudios poetic. Page. N 111 Madrid, June 2006. Edited. 5 Sculptures, Bronze Pequeo size. Limited edition of (8) Collaborating the foundry. CAPA. Madrid. July 2006. Gabriel Albendea. II. Potica anthology. Page N 76 Mandala Ediciones, Madrid. 2006. Poems. Nostalgia looks. Centro de Estudios poetic. Page. N 88 Madrid, September 2006. Several group exhibitions cities in Spain, as well as abroad. Fairs and Exhibitions invited international art as: International Salon, Autumn 82. Marseille, France. November. 1982. International exhibition of plastic arts. Barcelona-84. Palacio de Congresos de Barcelona.1984. Le Salon des Nations in Paris. Centre International Dart Contemporain. Paris-Francia.1984-5. British Art Fair In The City. Bishopgate Foundation. London. England. Mayo.1985. I Biennal Dart Futbol Club Barcelona. Personal invitation. Josep Llus Nez August. 1985. Contemporary Art Center Of San Francisco. Mecoarc. S. Francisco. (California) USA in May. 1988. CRITICS AND REVIEWS: Piedehierro is an artist who had to leave their homeland extremey to open possibilities in Catalonia, always weighs in Rafael that forced abandonment of their land which is bound by ancestral vnculos, and this impact on his work, a work that is not limited to technique, but opens up possibilities of multiple wings drawing: pencil, ink, charcoal, paint, read, watercolor, or plastic in another aspect: sculpture, clay or patinated plaster or bronze. Topics such as The marginacin or pain from Extremadura are frequent in his work in sculpture Reaching a expressionistic images that refer to the cry uttered by sb character of his drawings. Rafael Piedehierro has also practiced a portrait where the artist& 39;s hand violently models matter to leave their fingerprints on it. His portraits suffer from this sense of the classic that encourage schools of Fine Arts, where he studied Rafael Merida for four years. It was in December 1978 when the Home extremey Barcelona took place antolgica its fifteen years of paintings and sculptures (1963-1978) where, as in any other occasion, the drama explicitextensamente life of modern man, the constant threat of destrucciny its consequences, the marginacin of the children or the elderly repressed regions, and primarily treat the issue of radioactivity, always present your most recent work as a sword of Damocles over our heads. At this point, do not forget also to their land and dibujy pintpensando in danger of Almaraz (CCER) Valdecaballeros (Badajoz). That was before the events in Harrisburg and world Mobilisation around what happened. Chernobyl. Rafael Piedehierro expressed the possible effects of this phenomenon, not from a scientist point of view, but from his concienciacin as man and artist, speaking in a language monstrous, nasty, of deformed volumes, denouncing the subjectivity metamorphosis process that mixes human and animal forms from zoomrficas biomrficas and characteristic of the less intellectualized surrealstica ysms sensitive. Shaped head, to the circus and its famous llegla radioactivity Atmic bird is a clear example of this plastic conscious. Piedehierro warns of the danger that lurks, but leaves open a possibility or hope in those bulging eyes open, not fear, but warning: they are symbols of life and hope. At the same time, the artist does not forget the role that technology plays in man, which is symbolized in his work for ribbons or tubes that intrude into the interior of his figures, which snakes that live at the expense of man , which nicamente can see from the round holes in these sculptural figures show the vacuum drawn within man. Drama existential concienciacin strong vindication of their lack of ecological and the sources from which emanate the deformities of the beings of his work. When we talk about ecological vindication, in no time we refer to a budget supported conceptualist art, but art that through the techniques and traditional dimensions reach a certain degree of provocation by the ecological background, truly vindictive. Piedehierro PARCERISAS Pilar, a scream torn poet, artist and sculptor. The age of the machine, the man stuck a cry Piedehierro witness is a child of our time, this time enclosing the man in the nets of a dehumanizing mechanization that oppresses him and he drowns. His drawings are good faith of this distressing situation in which we are all more or less represented. We are caught everywhere, immovable if we do not move, with the bodies and minds distorted and adapted (poorly adapted, of course) to the limits imposed on us, helpless and powerless to fight any kind of monster that social, so that is only one way out: the cry, the perfect revelation and so ineffective that even we could ask if there truly is something within us. Piedehierro sometimes I doubt. In the sculptures, the artist has chosen a torn expressionism, violent, loud and rough, which translates to perfection those feelings take over on occasions and that hese men do not know how to describe. They crack heads, faces marked by pain and suffering. Piedehierro comes admirably to such exaggeration in the distortion of the faces produced by all those feelings that have been able to reproduce the pure expression without resorting to a model, having done a work of abstraction dificilsimo that led him to stay with the disposal expresiny face as such, in short, to reach a featureless face. Piedehierro also makes sculptures exclusively as a study of forms, volumes and balance space sirvindose of a material that resembles that of the pipes. And that is what it seems when we see the sculpture, by ignoring the joints, we see a tuber that widens, narrows and twists until it became an object with certain connotations of musicality. It can be said that this corresponds to the appearance of new research Piedehierro expressive languages, a different technician exercise that requires each of the different materials, whose expressive possibilities are far less the same. However I would like to insist again on their faces, the importance and difficulty lining Piedehierro what has been achieved and which is but a sample of his talent and artistic ability. MORATO MariaElena PROSEM to name the works of R, Piedehierro Behind the door there is a room without a floor if you open the door do not know where to stop your body anger. Rafael Piedehierro not afraid to open that door and floats, as a wing of liblula in the space of his hallucinations. The limits do not, hear the shadows of things and deals with the matter resides in a quiet catatnica, and struggle with it for the silence becomes sound. Based on the fable of the creation of man, to the maximum sculptor cogiun piece of clay. All arcngel authentic artist is a rebel who wants to amend to the operator the legend of the world. The true artist does not estconforme to the world that have given it new, and hands-chisel, hands-feathers, hands-sounds, eye-hand touch of Rafael epilpticamente shudder to raise matter, as the poet awakens the dream of snow, one page. Rafael Piedehierro is a being born in a region called Extremadura and being great that reason is not patriotic in the legend of the conquerors of land, is conquering the mud, iron, marble, bronze and Geometry literate names straight, wavy, mixed and broken. Piedehierro originates its vanguard, but as every true artist has drunk from the sources previous teachers. Rafael has always gone its own way and getting a fighting style that made his being on this earth, and the oak, the emblem of Extremadura, shaped and humanized estplenamente that head terribly alive pruning called MAN / OAK , and that other twisted in the cry that has this ancient tree impassive force that resists the elements. To cure the liblulas CNCer serve no cure for death also serves as the cemetery is used to treat unborn life. The poet wrote this poem and feel Piedehierro l also is a poet of clay and other materials asleep and continues his fight tirelessly to move this matter seemingly dead to life illuminating the SER and make their own; to a life that leave their mark on the sand of the lightning of existence that is called birth and death. The poet has written these verses and Rafael terrible feeling them because they know the naked truth and l Quse metamorfea death to make life in their creations. Manuel Pacheco.
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