“CÓMPLICES DEL ARTE español contemporáneo” es una exposición de artes plásticas en la que 23 personalidades, destacadas por su contribución y apoyo al arte contemporáneo español, proporcionan una insólita visión del mismo.

Written by Eduardo Vivanco, 2012
Adrián Navarro: Reflections. Maerz Contemporary. Berlin, 2012.

These large scale paintings, part of the two series Rings and Loops, are reflections in its two meanings —i.e., mental and optic or physical. Adrian Navarro puts in front of us a clear equivocation of figure and ground.

Written by Eduardo Vivanco, 2012
Adrián Navarro: Reflections. Maerz Contemporary. Berlin, 2012.

Diese großformatigen Bilder, ein Teil der zwei Serien Ringe und Loopings sind Reflektionen im doppelten Sinne, geistig und optisch oder physisch. Adrian Navarro stellt uns vor eine klare Mehrdeutigkeit.

60 Threadneedle Street Art Space is pleased to present ‘In and Out’, a new exhibition of work by London based artist Adrián Navarro. ‘In and Out’ continues Navarro’s pictorial investigation delving into the system of perception of dynamic space, embodying movement, locomotion and the passage of time.

JAVIER MADERUELO

Escribía Leonardo en sus cuadernos: “La pittura è una cosa mentale”. Efectivamente, se pinta con la inteligencia y se ejecuta con las manos que se extienden con herramientas, desde el pincel al ordenador. La pintura de Adrián Navarro (Boston, 1973) es producto de una reflexión dialéctica y de una ejecución minuciosa.

Following on from its passage through the Hammerson Art Space in London, Pilar Serra presents the Ring Cycle, the latest project from Adrian Navarro with which his painting strengthens itself along those lines that are so much his of establishing connections and distensions among the pictorial medium, reality, architecture and perception.

Hammerson´s Emerging Artist Initiative is pleased to present a new exhibition of work by London based artist Adrian Navarro.

The space at 10 Gresham Street is dominated by Navarro´s new works: the Ring Series. This new cycle of paintings describe implosions of colour trapped inside a floating toroidal volume, as it rotates weightlessly in the space in four different depicted sequences.

PAINTING BEYOND PAINTING. A conversation between Breixo Viejo and Adrián Navarro

‘ Implosion is the process by which objects
are destroyed collapsing upon themselves,
concentrating matter and energy ’

“Implosion is the process by which objects are destroyed collapsing upon themselves, concentrating matter and energy”.

Invited by the Hammerson’s Emerging Artist Initiatitive, artist Adrian Navarro presents his second solo show in London, “Implosion”, a series of works combining painting and screen-printing on canvas, the outcome of a process which also involves installation, photography and the digital post-production of images.

Adrián Navarro COMMON PEOPLE
ADA STREET GALLERY , October 2008

Artist Adrian Navarro presents a new series of works combining painting and screen-printing on canvas at the exhibition Common People which will take place at Ada Street Gallery. In contrast to his previous work, the outcome of intimate studio-based painterly activity, the Common People paintings are individual and group portraits of urban character which arise from the artist’s direct contact with the city of London.

Written by Iván López Munuera, 2009   

Portraiture as a genre has always had something of the eighteenth century herbarium, of taxonomy.  In the portrait, each face – whether anonymous or recognisable, collective or individual – suddenly seems to acquire an unusual quality, as of a unique specimen, like those plants in Michel Adanson’s Histoire Naturelle du Sénégal, in which the divergences rather than the common points of different African species are shown.

Written by Javier Montes, 2007
Catalogue of the exhibition at UBS Bank, Adrián Navarro, Galaxia, Landaluce&Navarro Editores, Madrid, 2007.

“I do writing, not stories”: Dashiell Hammet used to say and what he says may spring to mind on seeing Adrian Navarro’s new paintings. It’s something that goes back a long way (or that comes from afar: Adrian’s paintings have always travelled): since the very beginning, in the spirit of Hammet’s defiant words, his work has stretched between figure and background, line and colour, narrative and form. It’s as if Adrian in his own way resolves the dilemma implicit in Hammet’s words: paint paintings, and forget the stories.

Written by Eduardo Vivanco, 2007
Catalogue of the exhibition at UBS Bank, Adrián Navarro, Galaxia, Landaluce&Navarro Editores, Madrid, 2007. 

A succession of words on Adrian Navarro’s early paintings.

Written by Adrián Navarro, 2007

Painting, as an expression of life, is organic and expansive by nature. It not only reflects life, but it is also imbued with it. It has its own laws of internal transformation, thus, it is autonomous and self-referencing.

Written by Javier Montes, 2006
Catalogue of the exhibition by Adrián Navarro. Hombres y salvajes, Galería Artificial, Madrid, 2006.

“Once, after finishing a picture, I thought I would stop for a while, take a trip, do things — the next time I thought of this, I found five years had gone by.” And more years would go by, and then still others more. In the end de Kooning – it was him who was talking – never did do the things he had pending. He only painted until Alzheimer’s finished him. And yet, although it didn’t seem like it, although not even he himself realized it, maybe he was on a journey, making the trips that he wanted to make. Around his room: inside the Painting.