Breve biografía como Pintor en Español (Please bellow for the English version) :
César Morión es un artista español, pintor, escultor, fotógrafo y guionista, de formación filosófica, nacido en la localidad cántabra de Labarces en 1970. Ha vivido largos periodos de tiempo en el extranjero, principalmente en Dinamarca e Inglaterra, pero también en Suecia, Bélgica, Francia y Polonia. Su pintura puede definirse dentro de la figuración, pero no del realismo. Dos figuras van a influir en su formación como pintor, la primera, fruto de su relación familiar con el grabador español Donato Lasso, quien toma un interés personal en su formación, consolidando su motivación, y más tarde la del malogrado pintor Luis Delacámara, notable pintor madrileño en cuyo estudio se familiariza con el trabajo y las técnicas de un artista profesional que vive de su actividad como pintor
Como el mismo pintor explica:
"La pintura, no tendría la trascendencia que le pertenece por derecho propio si tuviese como fin exclusivo la decoración o cae en esta denominación realista que solo pretende rendir la realidad como réplica exacta. Creo que como lo expresaba Francis Bacon, la pintura es un intento casi siempre parcialmente frustrado de cristalización de alguna o algunas de nuestras emociones o el productor revelador de éstas. O si se quiere, puede ser como le parecía a Marcel Duchamp una forma intelectual de dar realidad física a nuestros pensamientos e ideas sobre la realidad. En todo caso sea el efecto emocional o intelectual, o ambos, lo cual es lo mas verosímil, la pintura debe ser capaz de uno u otro modo de efectuar una cierta aclaración o por decirlo así en los términos metafóricos de Karl Krauss de limpiarnos los ojos gracias a la fuerza emotiva e intelectual de sus imágenes, máxime cuando vivimos hoy en un mundo en que se nos bombardea con un tipo de éstas, que hacen fácil recurso a elementos propagandísticos, repetitivos o simplemente que están faltas de todo interés visual y son triviales, por supuesto ello no quiere decir que no se den entre las imágenes mas inopinadamente comerciales y vulgares a veces grandes sorpresas visuales para el artista,”
Por eso y a mi juicio lo que de modo general se llama pintura abstracta -considerada la cuestión estrictamente- es muestra de un malentendido al que subyace una contradicción en los términos, germen de una permanente falta de claridad respecto a qué entendemos a veces por pintura.
Inevitablemente, ésta, la pintura es siempre concreta, y tan concreta que la rodeamos con un marco. Los llamados pintores abstractos aunque partan, lo cual no es necesario tampoco, del hecho de una consideración de la composición y del color inicial antes bien que de la realidad que se nos presenta en las cosas no dejan por ello de ser en la mayor parte tan figurativos como los pintores así llamados. Un buen numero sino la mayoría quizá lo hacen desde un otro lado, esencialmente no naturalista, o de alguna forma de figuración más o menos representativa, como es evidente en Kandinsky o Paul Klee si bien ésta queda sintetizada y simplificada al mismo tiempo que recreada en extremo grado.
En casos como el de Rotko o Pollock, o artistas como Fontana, que serían -quizá- los más conscientemente alejados de esa intención, en una pintura que parece de tesis, es siempre posible encontrar por uno mismo un elemento que evoca ya sea el vacío o la confusión. Esta intención de abstraer al máximo grado me es ajena, y me parece salvando la ejecución más filosófica que pictórica, pues el pintor inexplicablemente quiere reducir sus recursos a una especie de exclamación o expresión mística.
Por otro lado si la abstracción quiere ser entendida en un sentido lato más bien como composición formal en ausencia de figura natural, y punto -como seria en el caso de Mondrian, la obra se arriesga a caer casi inevitablemente en un ámbito de lo decorativo. Esta forma de esencialismo geométrico y compositivo no es el más amplio desgraciadamente para un pintor.
Por el otro lado pero al mismo tiempo y no menos importante, la pintura comúnmente llamada realista ha visto como otros medios, notablemente la fotografía, han hecho un tanto vana la aproximación hiper-realista que se presenta como un ejercicio de técnica aproximativa más bien banal si solo pretende ser representativa de esa realidad natural como es más capaz de hacerlo una cámara fotográfica."
Breve recorrido de su trayectoria como artista plástico:
1976 - Premio “de la Cruz Sor Juana García de Paredes” College Chamberí. 1982 - Primer Premio Colegios Escolapios Pozuelo de Alarcón . Madrid.
1982 - Exposición Anual para jóvenes artistas de la Casa de Cantabria, Centro Cultural de Madrid.
1983 - Primer Premio Homenaje a Maria Blanchard de la Unión de Casas Regionales de Madrid.
1984 - Exposición colectiva de la Unión de Colegios Maristas de Madrid celebrada en Chamberí. Madrid
1985 - Exposición colectiva Valdáliga Hoy. Cantabria. España.
1986 - Primer premio de Pintura del Instituyo Fortuny de Madrid.
1987- Exposición colectiva Centro cultural Chamberí. Madrid.
1992 - Bradford West Side Art Gallerie. Bradford Polytechnic School of Visual Arts. United Kingdom.
1993 - Young artists collective show at the Brighton Polytechnic School of Visual Arts. Brighton. UK.
1994 - Fotografía para el Catalogo Luis Delacámara. Exposición Sala Macarrón. Madrid.
From 1995 to 2003 he keeps painting but also study philosophy and history of science, that and his interest for short movies makes him to renounce to exhibit for a while.
2004 - Kawangarda Gallery, Warsaw . Poland.
2005 - Kawangarda , Warsaw . Poland.
2006 - Syrian Arab Cultural Center of Madrid.
2007 - Villaverde Alto Cultural Center. 12 Drawings 12. Madrid.
2008 - Social Work Cajas de Ahorro de Madrid.
2010 - Cultural Center Riojano . Madrid.
2012 - La Esquina de Santi. Bar-Gallery, Madrid.
2013 - Molière Cocktail Bar, Madrid.
2013 - Gallery Museo de la Misericordia. Aveiro. Portugal
2013- Fundación Casa Patas. Visiones Flamencas. 50 obras dedicadas al Flamenco. Madrid.
2013 - Colectiva Iberian Seductions. Octubre 2013. Lisboa. Portugal.
2013 - Colectiva Eka & Moore Gallery. Diciembre 2013. Madrid.
2014 - Colectiva Lusitânia Exhibition.Marzo- Abril 2014. Lisboa. Portugal.
2014 - Sala Prado. Exposición Nihil Obstat. Abril 2014. Ateneo de Madrid.
2014 - Caffe del Arte. Octubre- Noviembre. 2014. Madrid.
2015- Exposición individual de Escultura. Enero 2015. Galeria Libelle. Berlín.
2015 -Colectiva “La Crisis la Pagamos los Trabajadores”. Abril 2015. Escuela Julián Besteiro. Madrid.
2015 – Colectiva La Carbonera. Abril 2015. Madrid.
2015 – Exposición Individual de Pintura y Escultura. Octubre 2015. Delibab. Hungria.
2016 – Exposición Individual de Escultura. Enero 2016. Galeria Yilliy. Heidelberg. Alemania.
2016 - Dos Exposiciones privadas de pintura. Junio y Septiembre. Calle Artajona. Madrid.
2016 - Exposición Individual de Pintura en Art- quitectura del 25 de Noviembre al 8 de Enero. Calle Costanilla de San Andrés 4. Madrid.
2017 - Exposición Individual de Pintura en Nanai del 3 de Marzo al 5 de Abril. Calle del Barco 26. Madrid.
2017 - Exposición individual de Obra Gráfica del 3 al 29 de Abril. Biblioteca Central de Guadajara. Guadalajara. España.
2018 - Exposición individual de Pintura del 19 de Febrero al 1 de Abril del 2018 en Alemania. Galeria Yilliy, Heidelberg. Alemania.
Short biography as Artist in English:
César Morión is a spanish artist, painter, sculptor, photographer and scriptwriter. He has had an education and academical university training in the fields of Philosophy and History of Science. Morión was born in Labarces in 1970, a small village in the west region of Cantabria, the north of Spain. He has lived long periods of time abroad, mainly in Denmark and England, but also in Sweden, Belgium, France and Poland. His work as a painter can be defined within the modern figuration, being considerably ambivalent regarding realism, and clearly apart from most forms of hiperrealism. Two personalities had an impact on his training as an artist. The first within his own family through his senior relative Donato Lasso, an engraver and graphic artist, who took an special interest in Morion´s earliest developings as an artist. The second and later influence occured during his late adolescence and early youth under Luis Delacamara, who helped him to consolidate his motivation, technical resources and main focus on painting. Delacamara offered him not just his advice and support, but his own studio to work along with him on a part time basis that are fundamtal to get familiar with the artistic world of the time as well as the technics, life and spirit of a professional painter that make a living on his work as an artist.
As the painter himself explains:
"Painting, it would not have the transcendence that belongs to it in its own right if it had the exclusive purpose of decoration or falls in this realistic denomination that only intends to render reality as an exact report of visual facts.
I think, as Francis Bacon could perhaps put it sometime, that painting is an almost always partially frustrated attempt to crystallize some of our emotions or a process that facilitate the revelation of them. Or if you like, it may be as it seemed to Marcel Duchamp an intellectual way of giving physical (visual) reality to our thoughts and ideas about what is most real to us. Whether it may be the emotional or intellectual effect, or both, which is the most plausible, painting must be capable in one or another way of effecting a certain clarification or, as it could be expressed, in Karl Krauss's metaphorical terms; of cleaning our eyes thanks to the emotional and intellectual force of the images so produced, when the intention has reached its aim. Especially today, when we live in a world where we are bombarded with a type of images, that make easy and insistent use and recourse or propagandistic and repetitive elements, that most of the time are lacking all visual interest and are unimaginative or trivial. Of course that does not mean that among the most commercial and vulgar images sometimes there may be great visual surprises and treasures for the artist, that, the one of course that can see behind them."
For this reason and in my opinion, what is generally called abstract painting - considering the question sensu stricto -is a sign of a misunderstanding where underlies a basic contradiction in the terms, which is the germ of a permanent lack of clarity as to what we sometimes understand by painting. Inevitably, any painting is always concrete, and so concrete that we surround it with a frame to mark it as its most inextricable and intrinsic quality. The so-called abstract painters may in many cases part from a mere consideration of composition and colour, rather than from a natural reality presented to them in things and beings, but it does not make them less figurative as the so-called figurative painters are. A good number of "abstract painting is essentially anti academical and non-naturalistic in their approach to the canvas, but almost all fall in some form of figuration more or less representative of something concrete, as it is evident in Kandinsky or Paul Klee who recreated and synthesized the natural forms. Their evolution from their initial figuration to a more simplified one shows in extreme grade and clarify how figurarive artists become often and come to be known as abstract painters.
In cases such as that of Rotko or of Pollock or many others like Fontana, which are perhaps the most consciously removed from any figurative intention in his mature work, the painting seems to fall into a sort of aesthetic or even moral statement, of a thesis. At least it is always translucent in this sort of works of art something like a moral or at least one or several conceptual statements, and the painting most often than not requires to be accompanied with a full display around it as a mysterious artistic object in order to be recognized as such by the most. This intention to abstract oneself to the maximum degree of all traditional art and at any cost is strange to art and unnecessariy. It seems to me, that apart from the quality of any particular execution, the hyper abstraction is more a philosophical intention on a canvas than a pictorical piece of work, because the painter has chosen to reduce his resources in a sort of ascetism that is neither satisfied producing his own forms, so the aim can only be to transmit perhaps a complaint or an exclamation, perhaps an aspiration or the mystical expression of it, a secret belief for no other particular reason than the notoriety of exhibiting uch dubious endeavour.
On one hand, if the abstraction wants to be understood in a broader sense rather than just as a formal composition in the absence of the natural figure, and that is all- as would be the case in the work of Mondrian, the work falls almost inevitably into the field of decoration. This form of geometrical and compositional essentialism is unfortunately not the most open panorama open for an ambitious painter.
On the other hand, but at the same time and not less importantly, the painting commonly called realistic has seen how other means, notably photography, have made at least some approximations, as the hyper-realistic approach something rather vain, and I do not see how this sort of expertise to render representations of things we all can see and reproduce by other means can be presented, but as an exercise in a common and universal minute painting technic rather banal that a simple photo camera is always more apt to render perfect."
Interview by Artonomics:
What inspired you to become an artist and how did this journey begin?
I have always been one. I don't really think that is a choice, but rather a disposition and an attitude towards reality some people have in a sufficient degree to be considered so. Indeed it can be worked on or left aside to its atrophy, but the egalitarian view of art as everyone being one is contradicted every day by facts. Most people just don't truly care about art at all or have a very poor appreciation and less still a real ability in some, not to say in every single form of art, something that the rarest individuals have.
How would you best describe your work, including your form and style?
I am mainly a painter, sometimes I produce some sculpture too or other forms of visual art. This doesn't mean that writing or other forms of art has not been an important part of my interests. I think style is a deceitful word and invariably employed with ambiguity. The painter of today has a difficult task, he should not be too representative or realist, because that work is since long ago much better done by photography, and should neither be too abstract if he doesn't want to fall into simple decoration. I try to keep in between and adapt to my object and subject-matter differently and with flexibility within those margins.
Which art movement, artist or art form are you most influenced from?
I am not influenced by any in particular, but of course I have been influenced by some single artists and in different degrees, too many to cite them here. Movements are to a great extent a classificatory device of Historians of Art and applied always retrospectively, so their reality and importance is very much overestimated. An artist like me is moreover influenced by everything, not just by art, in my case images doesn't matter where I find them, it can be in a text, are what really influence me at all.
How much time do you spend in a day or week on your art?
Between 7 and 9 hours every day unless something calls me out or I can't for any other reason, which happens too often. I am a studio dog;)
What message do you want people to take away from your art?
That's up to them, not to me. I am a painter, not a messager. I don't think an artist is here to moralise or impart doctrine, morals is the activity of moralists. The most one can do is to produce good images and shock a bit the consciousness of the viewer to bring him to some static state of stupor if he can, not falling ever in the adulation of a supposed public. Art is not destined to move to any particular action, the artist is not a pedagog neither a pornographer as James Joyce well put it. I agree with him on that.
Do you think there should be certain reforms in the art industry to help artist?
Artists should never pay to exhibit their work. Nowadays, that's the biggest mistake of the industry and of artists that want to be known no matter how. Paying anyone can show, and that is not fair with the few worthy ones. The good public is disconcerted and scare off when they see how awful and very mediocre artists are on the top. In the long run it affects badly everyone in it. Politics should also be kept aside, but that's another problem and very complex, the artist should not mix his work with politics, and the state should not be let to use the money of the taxpayer favouring their own. The State can only help no interfering and reducing to none the taxes on art transactions and protecting sensibly the author's copyrights
What are the pros and cons of being an artist?
Artist's vocation can been seen like Grace is seen for the Catholic, a sort of divine agent seems to have choose you for a very unpractical task. If one could choose truly, banking or proffessional fútboler seem to me today better choices. The genuine artist will find trouble for making a living at all, and must be very ascetic if he really wants to leave a long lasting stamp. Of course if he doesn't, it can be just fun or even a way to make good money, but that's an artist as entrepreneur, sth that is very extended today, as well as the amateur.
What would you say is your greatest achievement/accomplishment as an artist?
I keep trying;)
What advice would you like to give to budding artists?
None really, I don't give advice. Every situation is different and requires a different way and more even for the individual artist that being so lives necessarily outside convenience and conventional considerations
How do you promote and market your work? What are the greatest challenges in being promoted and recognised as an artist?
To the first question I can say I do exhibitions, not too many, but at least one per year, and of course with a definite purpose and unity of content. I use Instagram and have a web, sometimes I write articles if I am asked, but mainly it is the daily work that matters. To the second, I think luck is important to success, but work is the fundamental, in the long run it is good work and only good work that have a durable chance to remain and be acknowledged, though it may happen too late for the individual artist, that's the aim nonetheless.
Do you think the art industry is benefiting through the internet and digitization?
I don't really know, but I don't think the digital world is all good or all bad. It benefits some aspects and people and is detrimental for others. Some ways of doing art business will probably disappear but how to say that it was for the best. Today galleries are quite empty and people look at images on their smartphones, it has advantages but obviously it is not real enough and makes people more lazy and falsely certain having rather a presumed knowledge of what they think they have seen.
How do you manage your artwork and your inventory?
Hardly, but I do my best. Space is important for a painter and I always need more.
Can you share any insight to your upcoming projects/artwork?
An exhibition in Turkey as a part of an awarded Residence this year of 2019. An a next one solo show in Germany in 2020. That is what is confirmed right now.