2020 Exhibition “tres cavalls”

From October 19 to November 19, 2020 in the Sala L’Espai de Torrent (Avinguda al Vedat 103, planta 2, Torrent, València), the painting exhibition “Three Cavalls” by Núria Fernández Puig took place.

Below is a virtual tour of the exhibition by Photographer Manuel García Forner. To see the virtual visit click here or on the following image:

visita virtual
logo manuel garcía

“Tres cavalls” de Núria Fernández Puig.

The title of this exhibition refers to three pictorial series with a common element, the figure of the horse. The first series, entitled Equestrian Portraits, where the monochrome image of the horse is superimposed on a background of bright and spontaneous colors, seeks a different vision from the traditional approach of equestrian portraits made throughout the history of art. Portraits, where the representation of the horse was made with the intention of transferring the horse’s own attributes, such as strength, nobility, power, elegance and beauty, to the person portrayed, thus emphasizing their personality. In this series, the horse is portrayed stripped of its rider, thus recovering its natural attributes.

Retratos Ecuestres 1920 1
Equestrian Portraits

The motivation that has originated the second series entitled El Ser Caballo, is to induce a reflection on the relationship Human Being – Horse. Reflection that can be extrapolated to the relationship and manipulation of Nature by us, humans. In this series, painting has been used in combination with the technical image through photographic transfer procedures and collage; being the main artistic references from which the pictorial collages of Kurt Schwitters (Germany, 1887-1948) and Robert Rauschenberg (USA, 1925-2008) are nourished.

El Ser Caballo 1
Serie “El Ser Caballo”

The Nameless Horse is the third series to complete this exhibition project. Whose title alludes to a free horse, a horse without an owner and, therefore, a horse without a name. Thus, the horse is represented in freedom of movement, in mimesis with the space it occupies, landscape and horse being the same. In this series, the artistic references are varied. They all use abstract languages. Possibly for this reason, this series is the one that comes closest to abstraction without losing figurative and symbolic language.

Sin Nombre 1920 1
The Nameless Horse



Cartel de la exposición