Ignacio Klindworth
Jávea-Alicante, Spain
My art travels through territories located somewhere between figuration and abstraction. I consider myself a cartographer. The line is my vehicle.
Message
I was born in Valencia in 1961, the son of a Spanish father and a German mother.
I am a Superior Technician in Art and Design Applied to the Wall and Specialist in Fresco Painting from the Escuela Superior de Diseño y Arte Llotja in Barcelona. I was the owner of the gallery Le Cochon Rose in Berlin (West) and curator of exhibitions there. I began to combine my work with the study of the creative process through research on the relationship between art, architecture and urbanism, proposed by the International Architecture Exhibition Berlin 1987, IBA 87, and through my internship in a sustainable rehabilitation project of several buildings of SO 36, in the city of Berlin. In this stimulating environment I learned to work by projects, in cooperative formats, and to delve into the world of passive and pictorial building materials.
This led to several mural projects in Germany and later in Spain. Mural painting has allowed me to study and explore the relationship between color and architectural space. And also the links between perception and breathable paint materials such as lime and silicate paint.
In 1992 I moved to Barcelona and joined the Escola LLOTJA. In this centenary school, which Picasso passed through, I deepened my technical knowledge of mural painting. In Barcelona I rediscovered the Mediterranean and an atmosphere of neo-centista influence mixed with Torres Garcia and graphics and pictograms related to a great urban project; the Barcelona 92 Olympics.
In 2003 I moved to Madrid and redirected my pictorial investigations towards the mental processes that can be related to the creative process.
These mental processes are observable if we pay attention to how we coordinate, process, represent and manage our model of the world, to what we expand and map when we enter new territories of knowledge and representation, such as identity or landscape, understood as a scenario of mental networks. And also in how we codify and organize what we have lived and experienced in order to create generative processes of knowledge or models of understanding that have to do with the pictorial differential.
From 2018 to 2020, I have taken two courses in ceramics and mold making at the EAFAC Escuela de Cerámica de Madrid. In this way I continue to expand the territory of my research into creative processes. In this case with the incorporation of ceramic volume.
In 2023 I created, MontenegroEdiciones-Proyectos de impresión; a fictitious publishing label that allows me to carry out printing projects on demand. Series of fictional book covers and limited edition posters. Digital collage with cuttings of my own work.
Statement
My art travels through territories located somewhere between figuration and abstraction. I consider myself a cartographer; art is my sextant.
As a map maker, I can expand my territory and with it the models of the world. When I map new territories, I organize and codify what I have experienced by generating symbols and pictograms, volumes and plans and graphics. With all this content I can represent my new models of understanding.
I sense that nothing is permanent, that reality is ever changing, and that we perceive the world as we have previously modeled and mapped it. These models do not always work when expanding the territories or planes of experiences, or when trying to understand the universe in which we live. But the images I create allow me to lay the foundations for a new modeling.
The composition lines I use are not imperative, but they manage to analyze the internal structures of what I understand as reality. These internal structures are based on grids of reticular networks or mental networks that interact simultaneously on different planes.
Color allows me to traverse and live in this new territory, which constantly reproduces the flow of time that is in turn composed of voids, backgrounds and figures, emotion and concept.
And yet, as artists do not think only for themselves, this process of individual modeling needs others to make sense. What is new, what is perceived in a differentiating way, appears through a combination of known ideas that people exchange when they come together.
Only art is capable, whether it wants to or not, of making these territories, or their contemplation, self-ordered, that is to say, of giving them a spiritual value.