Exhibitions
Pep Aymerich and Pep Admetlla meet in Sarrià de Ter
'Mirades' brings together in the Sala Dolors Xabé two artistic trajectories that explore the relationships between thought, matter, science, architecture and environment.
The Sala Dolors Xabé in Sarrià de Ter hosts the exhibition Mirades , by Pep Aymerich and Pep Admetlla, a proposal that is part of the program of the Sarrià de Ter Festival and that puts into dialogue two ways of understanding artistic practice based on experimentation, reflection and the relationship with what surrounds us.
The exhibition starts from a suggestive idea: the things around us do not speak, but rather answer. Their apparent silence thus becomes a waiting before the questions we ask them. In this space between the gaze and the answer, Mirades proposes a dialogue between two artists who share an open attitude towards the materials, processes and questions that art can generate.
In the case of Pep Admetlla, his practice is developed in a territory located between art, science, technology and architecture. His work avoids closed discourses and opts for experimentation as a form of knowledge. As the artist explains, it is not about learning a specific discipline, but about entering with freedom and rigor into a complex and enigmatic territory, where different areas of knowledge are related and contaminate each other.
Pep Aymerich, for his part, is a visual artist of mainly self-taught training who combines artistic practice with his carpentry trade. In his case, art and craft maintain an inseparable relationship: each feeds the other and both share the same attention to the material, the process and the making.
His work has a strong introspective component and focuses on the search for and interpretation of the self, but of a self that does not exist in isolation. Identity always appears in relation to the other, to matter and to the environment. This inward gaze is simultaneously projected onto the outside world and establishes a constant relationship between personal experience and shared reality.
In Aymerich's practice, three dimensions converge that he himself considers essential: thinking, feeling and doing. Three concepts that also allow us to approach an exhibition like Mirades , where intellectual reflection, sensitive experience and the transformation of matter are part of the same process.
The dialogue between Aymerich and Admetlla does not seek to establish a single reading of the works, but rather to open up a space for questions. Their respective trajectories start from different fields, but they share the same desire to investigate what lies behind visible forms and to understand art as a process of discovery.
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