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Rossell’s work spans literary creation, performance, video work and the creation of his own pictorial iconography. In 1000 a Miró Rossell presents his graphic language, a combination of small pictorial elements that together generate a system of representation and analysis. Rossell’s figures coalesce into Joan Miró’s figures. The latter was a crucial painter in the history of Catalan art and the bridge figure between the historical avant-gardes and the artists who, like Rossell, worked clandestinely during the 1960s.
1000 a Miró is a video piece, but it could very well be considered a moving painting, or a 2-dimesional space traversed by different works for our visual delight. By means of the most advanced technology available at present, Rossell “paints” with pixels directly on the screen. His brushstrokes becomes figures that pay tribute of Miró. The imagination that the latter inspires is clearly active in the work of Rossell and his animation pieces.
Some fixed images intertwine with moving images. Different drawings and paintings overlap and the brushstrokes become alive in front of the spectator’s eyes. The work slowly replaces Miró’s basic colours with the electric colours available by electronic means. Our gaze approaches the details, and the music (a suite by Jaume Aiats, which lies somewhere between tribal music and acoustic experimentation) takes us to a world where the abstract becomes meaningful.
If other videos of Rossell such as Mandorla Irlis reflect the sculptural inclinations of the artist, or his performative facet, as in Tirant lo Món, 1000 a Miró presents us with the most pictorial side of his multifaceted artistic practice.