Images of the inauguration
The historian and art critic Imma Pueyo made an analysis of the work. Here it is:
This fall of 2021 presents a series of works, recently made, of oil painting on a surface of fabric or textured wood in which we can observe how he develops his basically abstract, geometric artistic language, with slight figurative notes.
It is a work that shows two ways of perceiving the pictorial space: on the one hand, in some pieces it traces vanishing points, draws slight perspectives and in others it projects a flat frontal vision. He does it with an austere language, a simplified style and in both options it is observed how the intention is to refine the forms, with the aim of eliminating any obstacle between the painter and the idea, between the idea and the observer. It is about removing the accessory, simplifying and providing clarity in the image.
The plastic singularity of each of the works stands out, thus each painting manifests itself with an autonomous existence, like a concrete world of art in itself. Tomás Sunyol is an expert in creating differences based on the proportions of the chromatic fields, the distribution, the relationship and the intersection between the colors, that is, the proximity and complicity between the neighbors that make up a shared environment.
The compositions are open structured by horizontal and parallel rectangular shapes, as if it were a cross section of three or four levels, in which the considerable color fields stand out. In perspective tables, understanding the content is easier. In the works with frontal vision, in order not to get lost, the author provides references such as the small luminous rectangles that, being vertical and superimposed on the chromatic bands, make an architectural effect. They represent open doors of light inside the wall within which there is life. They delimit the illusion of an interior space and depending on the period and context in which these works have been painted, they can evoke aspects of urban streets during confinement.
Color is essential so it regulates the visual effects, orders the space and creates a physical continuity. The viewer can imagine how the color space continues on both sides of the work. In the triptychs, for example, it is possible to observe how, despite the separation between the pieces, the eye perceives a thematic unity. The dense and uniform color spaces are also a vehicle for the communication of emotions and meanings: red associated with emotion / passion / danger, yellow evokes feelings of happiness, blue with tranquility.
Tomás Sunyol wants the viewer to see the urban space in his own way, from a quick, intense look, close to his surroundings. It is inspired by a space of experience, the streets of its city: Badalona and what it intends is to communicate human feelings and emotions. The theme entitled NEIGHBORS is defined through a difficult metaphor: representing in the limited plastic space a timeless relationship between the urban dynamics and the relationship between the people who inhabit a certain city and who can integrate experiences, generate tensions, silences. Composition and color merge to give meaning to the work. We must congratulate Tomás Sunyol for showing us a positive personal and contemporary urban vision, full of life and inviting us to share it by opening the doors to his different gaze.
