" VERSION EN INGLES: Gaspar Cortés Zarrías. Artista plástico contemporáneo. Español, Andaluz, Jiennense. Agosto 1964. Expresionista figurativo y simbólico donde el hombre y su mundo interior es protagonista. Galería de pinturas, dibujos, grabados, diseño, fotografías, infografías desde 1983. Amplia selección de su trabajo artístico. Portal de Arte en Jaén, Links, Artistas invitados, noticias de Arte, agenda y todo lo relacionado con las artes plásticas desde jaén para Jaén"

"VISUAL ARTIST
from Spain"

"...After having a look at the finished work and as time went by I had to admit that I my paintings write a diary. It is easier than it seems and as difficult as the ability for painting wants to make it. However, and though I have tried, any of my pictures speaks louder about my painting than I might ever do; about my lying or speaking the truth in them..."

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"Site containing artworks. Take your time to look at them. Thanks." Last updated: 03/19/10/ © Cortés Zarrías /

Teaching guide to the VIDEO: GASPAR CORTÉS ZARRÍAS. Artistic development and exhibitions.1988- 1995
Published by Joaquín Reyes, from several videos made by Rafael Casas. Introduction:
-Initiation to the world of arts.
-Development.
-Present moment.
-Influences. REALISTIC PAINTING -IMPRESIONISM -POSTIMPRESIONISM-EXPRESIONISM-ABSTRACTION-ARTE POVERA- SIMBÓLIC PAINTING –NOT FIGURATIVE.
In the drawing room in 1988. End to figurative painting, allegoric wall paintings. Allegoric characters using incision on wood to represent lines; on canvas, a string of rope is used. A concentration on forms begin. Romantic works, characters use quietness or torsions for communication Communion with the viewer. A landscape of his own arises and almost hieratic and cold characters are structured.
HABITACIÓN PEQUEÑA (“SMALL ROOM”). Jabalcuz Gallery. 1989. Jaén. Perfection of characters, it begins a decontextualising and abstraction process – it lacks background-. Incisions on wood to add determination to the lines, first paintings on tablex, and usage of false engravings in expressionistic looking drawings. Post modernistic elements.
FRAGMENTOS. (“FRAGMENTS”). Caja Postal 1990. Jaén.
Exhibition which advances on the “Small Room” exhibition topics, comprising works on canvas and which were already dealt with in the drawing room. Incision on canvas is done using a string of rope during the preparation. Large size works. The drawings express the relationship of man to his ego or the other characters of their environment. ROSTROS. (“FRAGMENTS”). Jabalcuz School of Secondary Education. 1991. Jaén.
Small size works which are a sequel to the former exhibition. The faces confront each other expressing painful attitudes, arranged in diptychs and triptychs or larger. Thick tactile textures are used to cause tension. The characters’ relationship takes a mirror-like fashion.
THE PURPOSE OF TIME. Caja Sur 1992, Jaén.
Tones are softened down and experimentation with grey scales begin. Characters are replaced by objects witch stand for them or fragments of themselves, predicting the symbols of forthcoming years. Just as if time crippled us in its development and took part of us, eliminating thus all chromatic details. The works seem to be related to sculpture and the finishing imitates patina.
RITOS. (“RITUALS”). Monte de Piedad de Córdoba Exhibition Room. Sala la Muralla de Úbeda.1993.
Characters fade away and are replaced by organic shapes which stand for desperate reliefs reminding of Prehistoric sanctuaries where human and animal sacrifices where carried out. There are outstanding stylistic advances at this time: Conceptual Expressionism, art povera, Abstraction, Symbolism and Primitivism above all. The symbol arises calling for the discovery of its meaning. It is an esoteric game leading to the discovery of the content of the work.
DOS PROPUESTAS(“Two proposals”).Association of Architects Exhibition Room. Jabalcuz Gallery. 1994. Jaén.
These exhibitions joins, in two different rooms paintings and drawings.
Paintings:
Symbolism strips the work and screams out its meaning. Characters take more geometrical shapes, and organic shapes are discarded. Visual or tactile textures are employed for expression. The signifier of the works stands for man’s constant relationship with its creator. Transcendence is still the main topic, as was in the “Rituals” exhibitions. The work shows large juxtaposed coloured surfaces which give a feeling of tranquillity.
Drawings and collages:
>Even more representative than the simultaneous display of paintings. Carried out using mixed techniques, enamel, pastel, pencil, collage, on rough cardboard in "De la puerta hacia afuera" (“Outdoors”). Wood, pastel, watered paint, in "Signos que no entiendo " (“Signs I can’t understand”) and pastel, printed paper, pencil on cardboard in "Panegíricos "(“Panegyrics”).
AZAHAAR (“Orange Blossom”). Eduma Gallery, Linares .1995.
Shapes have become definitively geometrical and the main actors are ellipses, ovoid and ovals. It reminds of hatching – Creation - of a world. When watching these works we feel the beginning of everything created by natural energies and powers, MOTHER EARTH. Visual texture replace the almost sculptural reliefs of former displays. Colour is more outstanding and gay, though it is ponderously used.
Interview for TV Linares, during the AZAHAAR exhibition.