In painting, the brush is the foot of the walker. One step after another, he goes into paths that are sometimes known but that always keep an unctuous surprise. "In the march, the true sign of self-confidence is slowness," writes Frédéric Gros in Walking, a philosophy.
Nader Barhumi has made long journeys through canvas in his four decades as a painter. And they have carpeted their territories with fragmented motifs, colorful ornaments, untimely relationships between abstraction and figure. Already in his 2014 Photo Paintings he had stopped on his walks through Madrid to intervene on blurred walls and doors or on old torn posters, both with the brush and by pasting on them details of photos of works by great artists. Then, the composition photographed in the street, it was printed, enlarged.
In the months of confinement we were hardly able to go roaming. Like almost everyone, the physical and virtual experiences merged in everyday life and he expanded his workshop to the small space of his Tablet where certain platonic relationships aroused passions. The exhibition he now presents includes painted canvases and prints from his recent digital excursions. The process is not very different, they are layers upon layers. Step by Step. The collage and the tear, the cacophonic profusion and the swirl of the piece, the unexpected metaphor. Layers like those of a transparent fiber onion, glazes of glass. It is not just a combination of techniques. It is perhaps the motionless walk of a barefoot man, with shoes in hand.