Adrià Mayordomo at Galería Fran Reus

Try to understand the generation born around 2000’s, as Adrià Mayordomo, who belongs to the Z gen, could be a hard work. This digital natives have a completely different relationship with their environment. Even though Adrià Mayordomo is a generational rara avis.
He decided to paint as a principal discipline for his first solo show at “The Vault” space (although without setting aside other techniques, as the sculpture). This is not newly, but indeed it is because he scapes from the trendy and actual styles, betting for his owns and getting away from the ephemeral trends. He started on the street, painting murals in the Manacor’s surroundings, the town where he was born and rise. He even painted a billboard as a bachelor’s class work. Afterwards, already studying in Barcelona, He started to use paper and canvas, even if He did not let aside his street facet. “Actually, I do not want to explain anything, I just want to play with the concept of losing your mind from the absurd. The plasticity of the artworks does not try to offer any sentimental lecture, and if it happens it is not on purpose. I prefer that every viewer has his own interpretation, totally personal. I even prefer that the piece simply does not evoke anything or that the spectator would not be able to understand it, than fit the artwork in a concrete concept”, explains Mayordomo about his project. It is easy to see that He is trying to trick us. His work explains more much than what He believes. There is some reason for his referents: Francis Bacon, Maria Prats, Miquel Barceló and Alex Foxton. Mayordomo is a painter without complex who, with a notebook in his hand (not tablets or smartphones) picks out everything that crosses his mind: notes, sketches, phrases and anything that thinks might inspire him. A garbage dump of ideas that make him lose his mind to later crush them, chew them and regurgitate them on a canvas. In his narrative, we can observe characters, with a certain pictoric deformation, with postures and perspectives that intentionally defy some stereotypes. Furthermore, if it is not enough, He literally cuts the charachters head/face and relocates them with a collage/decollage technique inside or outside the canvas. Sometimes, He even burns some parts of the artwork, giving them a material aspect and raising identity and hiding questions. These holes reminds, in certain ways, formally to artists such Lucio Fontana with his holey and ripped canvases, and conceptually to Magritte, who understand the holes as a door that allows to look beyond and observe the occult side of the reality. What does the artist want to show us? What is He hiding for? They are possible self portraits, handled from the distance, as an alter ego but self referential with not doubt, that allow us (more unconciousness than conciousness) to sail through his intimacy and brutally submerge us in it; denying his own identity and hiding through a construction of a subjectivity and its relation to the human body and Focault style. The distribution of the artworks creates a route that forces to visit the show in a concrete way, as a spacial puzzle, compelling to the spectator to watch and discover certain aspects of the pieces that otherwise could be not reveled .