LLEI D'ART 14

left behind, andwhere he lived for somany years. Its landscapes, its lushness, its greenness and small villages that were immortalised in his acrylicpaintings, always so true to that particular expressive linewhere Ángel invested all his talent. From the strengthof hismost genuine abstracts, legitimate heirs to his extensive artistic sojourns, where forms give in to the strongdiscourse of the line that imprisons them, to the sweetest expressionof some of his floral still lifes from hismore recent period. Here the great imperative seems tobe the contemplative instant in all its splendour, and the entirety of Atienza’s body of work captured thebest of the lived experienceHewas able to interpret in a thousand andoneways anything that had carved itself intohismemory, the very thing that left him years ago. Butmore than that, throughout his oeuvrewe see contrasting sensations interlinked like fine lace, with crystal-clear feelings, shaded feelings, dreams in their purest essence or passions enjoyed, like a goodHavana cigar, to the last breath. It is the contemplationof hiswork, like a kindof sequence of sceneswhere there is always a unifying concept that allows us to visit the artist’s original dream. The forms, onoccasiongeometric and round, sometimes serene andgracious, but always harmonic andbalanced overall, spreadout to the edges of their territories. They blur as if they sought not tomark the end, but rather an awakening, to return to sleep later on, at another time and in another place. gran imperativo parece ser el instante contemplativo en todo su esplendor, toda laobrapictóricadeAtienza sabía rescatar lomejor de lovivido, interpretandodemil yunamaneras todo aquello que conmás fuerza había incidido en sumemoria, la mismaque hace años le había abandonado. Pero además, en toda su obra, se entrelazan –como en fino encaje–, sensaciones encontradas, sentimientos cristalinos, símbolos tamizados, sueños en su más pura esencia o pasiones apuradas, como un buen habano, hasta el último aliento. Es la contemplación de sus obras como una especie de secuencia de escenas donde siempre se halla un hilo conductor quenospermitevisitar el sueñooriginal del artista. Las formas, geométricas y rotundas unas veces, templadas y clementes otras, pero siempre armónicas y equilibradas en su conjunto, se esparcen hasta los linderos de cada uno de sus territorios, difuminándose como si no quisieran marcar un final, sinoundespertar, para volver adormirmás tarde, en otromomento y otro lugar. Themost difficult thing is to conceive, not tomake... Artistically the thing that ismost or least valued is creation. However, the process ofmaking has an importance based on the fact of beingmore or less efficient. Themural cannot be thework of one person, becausemany peoplemake it possible. It’s as if you stretched out your hands, and instead of having two little hands, you had ten hands that let you do everything you are thinking of. ÁngelAtienza Lomás difícil es concebir, no realizar… Artísticamente, lomás omenos valorado es la creación; en cambio, la realización tiene una importancia basada en el hecho de sermás omenos eficiente. Elmural no puede ser obra de una persona, pues participamucha gente para hacerlo posible. Es como si tú extendieras lasmanos, y en vez de tener dos, así, pequeñas, tuvieras diezmanos que te permitieran hacer todo lo que estás pensando ÁngelAtienza 42