Javier Riera (Avilés, 1964) has an extensive career in which he explores the possibilities of artistic practice through a side that is as similar to sublime poetics as the geometries that pluck at the internal order of nature. Landscape is the main reference in his paintings and he is interested in non-visual aspects; he tracks with an introspective look man's connection with nature and stimulates reflection on their presence in the universe.
During his career, the artist focuses on the description of the energies that shape nature’s ways and geometry’s ability to represent it. His work manifests an exceptional calm and reveals a balance between emotion and reason, in which light always plays a main role, with a sense similar to one in a Baroque painting. The abstract light that emanates from his painting leaves time in suspense and provides a permanent existence to things.
In Noche Áurea, Riera takes an important turn in his work towards an exploration of the photographic medium which the artist feels is a continuation of his paintings. The painting abandons the traditional support of the canvas to expand and express itself in other media; he has a special interest in the experience of light and the way it has been recorded by artists, in order to propose different ways of representing the world, including a curiosity for optical instruments, such as the camera obscura.
The analogue photographs that the artist obtains, after long exposures at night, are part of a comprehensive process in which it is essential to experience landscape. Riera chooses those landscapes where he senses the echo of something that is in nature itself. He looks for a specific moment in which brightness does not seem to have anything to do with the passage of time and projects geometric drawings from diverse places and which have a definite symbolic force. Such is the case of his mandalas, labyrinths and Celtic spirals that contrast with the irregularity of the landscape, leading to the "superposition of two different mathematics" that do not conflict. Light does not serve only to illuminate the landscape but moulds it, imposes its own architecture on it. The presentation of his work on small media has the aim of achieving a certain intimacy with the audience and a silent relationship which gives rise to an inner and emotional insight of nature.
Reina Sofia Museum's Publications
5 December, 2018 - 25 November, 2019
The Poetics of Democracy
Images and Counter-Images from the Spanish Transition
21 November 2018 – 22 April 2019
Lost, Loose and Loved: Foreign Artists in Paris 1944-1968
16 November 2018 – 3 March 2019
31 October 2018 – 29 April 2019
Of Lunatics, or Those Lacking Sanity
17 October 2018 – 4 March 2019
Hospice of Failed Utopias
9 October 2018 – 10 March 2019
Guilt and Debts
From November 22, 2017
Cubism(s) and Experiences of Modernity
10 October, 2018 – 15 February, 2019
A movement that will not be fixed: Kazuo Ohno and La ArgentinaBiblioteca y Centro de Documentación