Pell 1, 1995

The artistic trajectory of Ignasi Aballí, an artist that comes from a classical background in the Fine Arts, quickly evolved toward the predominance of the concept versus pictorial illusionism. Aballí suspends the image and annuls any possibility of fiction. ‘I came to the conclusion that I preferred to suggest the presence of a painting rather than show the painting directly. I was more interested in leaving the image in suspension’, explains the artist. With the act of painting becoming problematic, Aballí developed multiple strategies to push the notion of painting to the limit. Elements of the ‘pictorial’, such as the layer of varnish, the stretcher or correction fluid, become an allusion to the non-existent painting.