Visible Dissonance – Guillem Crespí i Alemany
“In works of art, the perfection of form is combined with small imperfections. This is the great magic of creativity“. Only in this way can the anguish of the observer be avoided and his soul placated.“
By ten years of age the artist showed more interest than his peers in painting. He began to sketch. Over time, he improved his drawing technique and developed a unique way of observing his surroundings and the objects in it. Following this internal impulse, he has over the years created numerous works that have been enthusiastically received at national and international exhibitions. He began to do sculptures of musical instruments after picking his son up from music school one day. He was very taken by the music he heard there. The light notes of the clarinet, the firm sound of the horn and the soft sacred sound of the cello. It was like an explosion of colours. As the French painter Marc Chagall remarked, “All the colours are friends of their neighbours and lovers of their enemies.” First Mallorca got to know the man Guillem Crespí i Alemany in an interview.
Is it possible to reconcile art and family? Does art feed the family? Honestly, it’s not difficult if you really work hard, very hard. The family is the cornerstone of everything whether you are an artist or not. This includes all types of families or relationships. On this basis and going on to your second question, that is the way it is. I can’t live exclusively from art, so I have to take that into consideration. When you have children, they have to go to school. You have to buy clothes, etc. That is my responsibility and I assume that it’s the same for all parents. On the other hand there is the question of finance. I have friends and acquaintances that despite their work, they end up vegetating and are not happy because their financial situation practically smothers them. The art galleries have greatly contributed to this situation and I have realised that they prefer a business relationship to an artistic association. In my opinion this should be improved. My aim is to live only and exclusively from my art, but since that’s not possible, I have to combine my artistic work with other jobs.
Have you any other artistic talent besides painting and metal sculpture? To do a good piece of work requires a lot of time, for example, painting with colour. I spent seven years working exclusively with paper until I had finally dominated the technique. In theory, it was a kind of painting school but not the way most people would understand it, it was really something completely different. I paint many layers of paint and sometimes I superimpose them and with others I do the opposite and combine them to finally represent something that I want. However, I never paint with oils because in the end I don’t like the result or the solvents and also they take a long time to dry. With regard to working with iron, this is a further step in my interpretation of painting, almost the third dimension. Iron is malleable and in its processing is similar to acrylic with water, it’s even a passionate relationship. But it also requires a lot of time and unfortunately I haven’t started with other material like wood or stone.
How would you define your style? I could never define my style and I’m very pleased about that, because I believe that it’s my own particular style, which has a little from many styles. I think it’s somewhat conceptual; it takes a little from Dripping, who was heavily influenced by Jackson Pollock. Somewhat surrealist, impressionist and I don’t know what else.
What is special about your art? I think that if my art has something special, it’s that it isn’t a copy of what others do.
What does your work express and what emotions does it transmit? It’s powerful work in a psychological sense. Full of joy, colourful, reflexive, composite but still irradiating tranquillity.
We are delighted to continue working with Giullem Crespí and announce our new private collection of 50 outstanding pieces of art for our clients.
