Girona´s work is an enormous iceberg, we can see it standing up, amaizingly and we only see what the artist permits. Colors, lines, forms and signs. Sometimes it is quite a few, just faces, bodies. Sometimes is nothing. However, everything is there. A painting of him is always a minimal prodigious eighth. Nothing left, but plunge into the water headfirst and open the eyes under the water.
Remember, before dive, that secret said by the fox to the Little Prince: ''Listen to my secret, it is very simple: We can not see without heart. The essential matter is invisible for the eyes''.

We can see shine here and there, rare pieces. Maybe we can discover, among thousand of possible fragments, the mysterious 7/8(...)

(...)We are looking for the genesis of art works. We are revising even the most remote antecedents. We look mountains of pictures. We reconstruct, compare, classify, achieve perfect equations. Infant scribbles plus japanesse handwriting plus northamerican ''action painting'' equal to this and that.
While Julio is talking in a telephone chat he is drawing in a piece of paper. If on the other side there is man, the scribbles are rough, square and geometric.

Talking with a woman, the piece of paper suddenly is full of soft lines and waves, sometimes violent. Then, most of his drawings, paintings called abstractions are real telephonic pictures and also, of course, self-portrays. Maybe we should handle the telephonic guide, reconstruct, compare, classify, with new information, again, the genesis of artworks(...)

(...) ''I think we`re not giving enough to you, Julio'', said worried one of his sisters in front of one of his paintings. Julio smiles telling this story- ''it really looks like a beans plate''.
Breasts, phallus, buttocks, pork legs, food tables, chipped walls, beans, candies.

All is possible to find in his paintings. As abstract painter, Girona goes through many possible ways: simbolic abstraction, gesture and sign painting, spacing; in none he can´t be free of the analogy ''punishment''.


Sometimes he is betrayed for titles, other times, our own experience discovers a place where we can support his expectations. We faint before a blue brushstroke. What we´ve got here? We always attempt to enter the picture as a riddle. Then, after conventionalize all our figuratives operations, we look at the no-figurative matter with wise sharpness: ''I got it, this blue spot is the sea''. Easy, friend. The sea is just the sea. Let´s enjoy the blue brushstorke and then we will see. There´s also a sky, someone´s eyes, zappires or sorrow, according to expectators´ professions. Let´s look at the brushstroke. It is blue. Then, in any order, all you want. Painting is also Painting...


Courtesy of National Council of Plastic Arts.

See more information at National Prizes. National Council of Plastic Arts

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