Sandra Guimarães has offered more detailed information on the exhibition alongside Juan Uslé, Susana Lloret, vice-president of FPAA, and the consultant of the Per Amor a l’Art Collection, Vicente Todolí, who has also co-curated the exhibition with Nuria Enguita.

Susana Lloret, FPAA vice-president, has insisted on the important role of art during these times: “Sharing these works feels very satisfactory because we have never pursued the acquisition of artworks to keep them in a warehouse. Art is a form of communication, therefore, it needs to interact with people to communicate, to move, to surprise, or even to provoke the audience. In the present circumstances, we believe that it essential to cause reactions that go beyond the hard and puzzling everyday, focusing on something stimulating such as art and the artist, in this case, Juan Uslé”.

“Juan Uslé. Eye and landscape”, which remains open until September, brings a selection of works made by the artist from the end of the eighties, including a few pieces that correspond to the series Soñé que Revelabas, which part of them were made in the last ten years. The exhibition is the result of a research on Uslé’s works in the Per Amor a l’Art collection, whose consultant, Vicente Todolí, has acknowledged “the profound research on the long career of such an internationally renowned artist, who is present in the exhibition not only with works from our collection but also through various loans from other institutions, private collectors or the very artist”.

The first works, which date back to the 80s, show the period where Uslé begins to problematize the relation between landscape, vision and mind, between abstraction, robust brushstrokes and watercolours. In the 90s he starts questioning the pictorial language with those bright colour landscapes that combine gesture and geometry. The exhibition closes with his latest period, where a series of intimate self-portraits and drawings function as annotations or tests.