La Piel Traslúcida
The artist's first public exhibition in Spain features 8 large-format paintings on display at Haimney Gallery in Barcelona's picturesque El Born neighbourhood.
September 5, 2019 - October 20, 2019.
By M.S. Dansey
Fascinated by the images in fashion magazines, Pabli Stein takes them by storm, makes them his own, unquestionably as an excuse to unleash his other passion, painting. Figurative reconstruction of images that obsess him is a task he undertakes with a painters’ religious dedication. But the image never turns out steady, it does not become a faithful copy of the model, because in the process – as in the practice of pleasures –, you never know where or how it ends.
Stein accepts the task as a physical act. Fabric, which at the beginning serves as a bed for love, delimits a crime scene in the end. No crime of passion, that’s for sure. And at this point let’s open a parenthesis and say that when the art system is ruled by a virtually impersonal conceptualism, this sensitive freedom is read as a statement of principles. This is not an automatic, purely emotional act. He gives in to his instincts, he lets go, he gets lost, true. But he surrenders with eyes wide open; the artist examines his practice and, like every good lover, allows time to go by smoothly, intensely. It does not follow a binary mindset that can only recognize active/passive mode. He gives in to the interregnum of tension triggered by his object of desire. His painting reacts to a primary drive, the workshop; from some sort of inception between the artist and his model a fresh, powerful, uninhibited image arises.
A group show presented by Quimera Galería. Two works by the artist are featured in the room.
November 12, 2020 - February 28, 2021
STEIN (obras recientes)
New paintings by Stein from the "open night" series curated by Eduardo Stupia at OTTO gallery in the Recoleta neighborhood of Buenos Aires.
May 19, 2017 - June 18, 2017.
Eduardo Stupia, April 2017.
Pablo Stein’s painting seems to manifest, or happen, in a certain state of conflict, a conflagration between elements that struggle to prevail over one another, but ultimately neither appears as dominant. And this may be due to an orderly decision, a structural program, or a consequence of an inner quality of the artist, debating between forces, magnitudes and movements that break in and backward indistinctly into the territory of the painters’ practical consciousness, that turns the medium and the canvas into some kind of battlefield.
Unmistakable figures, invariably feminine and almost always turning their backs, or slit-side glancing a smooth half-profile, developed halfway between reference and geometric synthesis, sometimes metamorphose into formless silhouettes, strangely voluptuous lumps, and survive the onslaught of a convulsed exudation of squirted, blown paint in a dissruptive fight of thick crossings, splashes and brushes.
If a taxonomy of these components were to be tested, it could be ascertained that they come from both very pregnant and identifiable iconographic sources – the rhetoric and mannerisms of fashion photography, figurative stylization – as of various genres and techniques – material abstraction, prototypical strokes, stains, wild brushstrokes and action painting outpourings – which are also nourished by terms usually conceived as opposed, in a polarity where the dilemma, or dialectics between action and reflection takes a leading role again. Textures and pigments, fluidity and density, corporeal and atmospheric, contrast and combination, visible and occluded come together and apart, they coalesce and dilute, as a secular alchemy’s fluids and elements that contest the thematic and semantic physiognomy of each piece, being useless, or impossible to detect their ultimate affiliation, other than the clash of modalities and stimuli, if not opposite, at least disparate.
When he engages in paper collage on paper, and despite still being captured by this dystopian tune, Stein finds in this medium a more restrained variant, as if the temperament he displays in his paintings now imposes a pause, a respite, between colored papers covered in glitter, tracing paper used as glazing – equivalent to the vaporous acrylic clouds obscuring the planes – and photographs dissolved in mutilated clippings on which aerosol shots suddenly burst.
A zone of deceptive formalism opens up here, a paroxismal fervor gives way to a more elegant, less overwhelmed sensibility. And all at once, in this deliberately restricted ground, hidden behind a discreet decorativity, and in the residues of altered images in loud surface effects, lurks the purest, sharpest and pulsing face of a throbbing and turbulent painter who, momentarily secluded, gets ready for the moment to return to the fray.
Eduardo Stupia, April 2017.
A major solo exhibition of 16 paintings
October 20, 2015 - December 21, 2015.
Catalog introduction by Eugenio Cuttica, 2015.
Few painters achieve a balance between two hemispheres. An energetic symbiosis between abstraction and figuration. Pabli Stein is able to achieve a synthesis between what are commonly defined as irreconcilable opposites. The sanguine and hepatic gestures of the artist manage to create communicating vessels between the emotional part and the intellectual channels and demonstrate the completeness and its possibility.