José Luis Ceña
29,00 € – 695,00 €
EARLY BIRD SALE PRICE
UNTIL 22ND MAY 2022
DATE: 10th to 12th June 2022
TIME: Friday (from 5pm to 8pm) and Saturday and Sunday (from 10am to 5pm)
LOCATION: Madrid Academy of Art, Avd. Manoteras 38C Madrid 28050 Spain
Plastic art has its own language and as such is based on a series of codes of expression. All form of expression comes from within. It arises around the need to communicate and externalize emotions. In this course we will try to channel that need for expression and consider what surely it is the first question of language. What do we want to tell? Based on this question we will delve into formal criteria of structure, composition and gestures starting from the premise that painting is, to a great extent, an intellectual act.
My way of working consists of a first diluted acrylic stain to then work with the oil. For this reason, I recommend that you take some acrylics in addition to the usual oil palette of each one.
Complete Pallet type:
Alkyd white (important to accelerate drying in the first coats) Titanium White, Lemon Yellow-Cadmium, Yellow Ochre, Medium Cadmium Red, Alizarin Red, Tierra de Sombra, Cobalt Blue, Ultramarine Blue and Ivory Black.
Recommendations: Royal Blue, Cadmium Red, Permanent Green.
The aforementioned are possible recommendations since the palette is something very personal to
Bristle and Fine Hair Brushes or synthetic fiber, of different sizes and shapes (Flat, tongue of
cat and round.)
Medium Liquin or any other fast drying medium. I use the one from Old Holland or the one from Talens.
• Wooden or Formica pallet.
• Silicone and plastic scrapers.
• Tables or linens or canvases that do not exceed 50 cm, that already have some type of primer. I usually
work on a fine-grain linen mounted on a board.
José Luis Ceña was born in Malaga in 1982. At the age of 15 he moved to Madrid, a city where he graduated in the career of Fine Arts from the Complutense University of Madrid in the specialty of Plastic Arts in 2005. In 2001 he received a scholarship from the Royal Mint for the expansion of their studies in the disciplines of Engraving and Graphic Design. The Training in these fields allows you to investigate resources and tools that, although alien to traditional painting, they are incorporated into his creative process, giving his work of a special plasticity. Part of his iconography arises from thought processes based on readings or experiences that need to represent to be remembered. Since, unlike the photographs in which immortalizing an instant prevails, in his painting we find the development of an action. Open compositions and silhouettes that symbolize something that is, was or could be at a given time in the place where the story takes place action. The concrete is relegated to deposit all the weight of the message in the projection of feeling by the spectator, in his particular way and moment of perception. Undoubtedly mysterious theme that invites contemplation and provokes romantic mystery, does not evoke in a direct way, but is limited to suggesting a reality hidden.