“in a literal sense, lluís carulla ruiz’s work claims its place alongside the great contributions from concrete art and its basis. we are faced with the renewal of a neo-avantgarde style removed from expressionist exaggerations and deconstructivist deviations. inscribed in history, it re-engages with the experiments and sensitivity of an impure, artistic investigation. from this point on, an allegoric dimension unfolds; a positive idea of art as a form and way of experiencing sensibility and, equally, knowledge. the artist acquires a noble moral vicissitude: you have to make art and, in an anagogical sense, not only by producing objects, but rather aspiring that these objects may transform the experience of reality and establish a reality. art is the substance, not a tool. art affects us, it moves us. living alongside a work of art, in this case the work of lluís carulla ruiz, co-existing with it, makes us different to how we were before. art does not belong in the living room, but lives in the chambers of our being. the reader may have realised that we have opposed a strictly instrumental conception.
lluís carulla ruiz’s sculptures in motion stir stagnant waters. in a moment, the static space is revived. as with words or phrases, visual cells behave like contemplative thought. still dynamics. or here, a dynamic stillness, carrier of memory. some are like a dancer’s skirts, others consider them to be gestural brushstrokes, and others like celibate mechanical rotations such as those by man ray and duchamp. i would say it is visual material that takes a place in the mind and from there breathes energy into the artwork in the space… because we are language in a physical, psychic, cosmic and social world. with no separation. with no pedestals. art and technique: poetry and science.”
– Vicenç Altaió –
september 16th – october 16th, 2016