Casas Riegner is pleased to announce the opening of sospecha (suspicion), Luis Roldán’s most recent solo show. Composed by paintings in different formats, which are complemented by four sculptural pieces, this exhibition poses an intuitive path shaped by each spectator’s reading. The distinction or recognition of these pictorial signs could well suscitate a narrative that references landscape,  art history or the material qualities of painting mixed with the inner cosmos of the person tracing their path, among many other possible associations.

With this open invitation, one of the most interesting dialogues that arise from sospecha is that surrounding the implicit references to Roldán’s previous work: Parque de la Independencia (1993-1994), a series of paintings of abstract studies based on the work of artists like Andrés de Santa María or Paul Cézanne (a series also characterized by its large format and thick brushstrokes); Amansadores (1997); To be young and homeless (2002); or Circunstancias, an exhibition presented at Casas Riegner in 2009 that created an integrated environment formed by paintings, drawings, assemblages, video and even two yellow canaries. Moreover, this revision of his own narrative is complemented by four sculptural works or “accents” made with found materials. It is also worth noting that this exploration of abstract painting is far from relating to automatism, on the contrary, each of these pieces encloses its own structure and has its own direction. It is a corpus of work akin to a ghost or a trace rather than a rigid frame.

In unison, sospecha gathers different experiences, themes and references that seek to stimulate diverse readings. The results are always varied, the inquiry is always fresh.