This is the second time our friends Óscar and Paz have opened the doors of their gallery to us, giving us the opportunity to share the work of the artists we work with. In 2020, Enrico Della Torre and Matthew Musgrave were the artists chosen to exhibit at L21.

The exhibition we are now presenting at FLORIT/FLORIT brings together Breza Cecchini, Jorge Diezma, Antonio Ortega and Camilo Paravicini.

Breza Cecchini works in deep contact with nature. Her dreams, her nightmares, her memories and her experiences seem to inhabit a state in which matter loses weight and becomes insinuation, an invitation to understand, an opening to the intangible. Lightness here is not evasion, but a way of saying without trapping, of building meaning from what is barely hinted at.

Jorge Diezma describes himself as a still-life painter, and his latest work focuses on maritime still lifes that continue the extensive body of work he has developed around the tradition of the genre. His work can be interpreted through many lenses; however, he is aware that, just as he puts forward certain motivations, he could point to others, since he considers them mere stock phrases that do little for what matters most: standing in front of the painting and looking at it (or painting it).

Antonio Ortega persists in delivering new paintings in which two pink stones are the only characters occupying a space/landscape that cannot be located. These stones recall Beckettian figures, whose only narrative interest, as the artist grants it to us, lies in guessing the position of the light source from the shadows they cast.

In Camillo Paravicini's painting, the surface becomes a living, changing territory. His paintings resist the fixed image and open themselves to the possibility of error, of overflow, of collapse. The memory of the painterly gesture persists, but no longer as affirmation; rather as fertile ruin, as the vestige of an impulse that still beats.

Far from seeking a single narrative, this exhibition proposes a series of encounters between practices that, although different in form, share an attention to the act of making, of thinking and of inhabiting the present as an artist.

With this exhibition we do not intend to build a closed story. It is rather about opening a conversation that moves from surface to surface. A gathering that seeks not a sum of voices, but a shared space. A place where making is already a form of resistance, where looking means accepting the risk of not fully understanding.

We understand painting as a shared territory where what matters is not so much what is said, but the way in which we keep trying to say it.