amorsdificils.jpg

Blanca Hernández y Pep Brocal

The woodcuts and serigraphs you can see here are the explosive sum of the joint work of Pep Brocal and Blanca Hernández.

Some of the pieces are done in four hands from start to finish in a mixture of styles and ideas. All the woodcuts are carved and stamped by hand with very limited editions.

You will also find pieces made separately. Both with the joint work and in their individual trajectories they have participated in exhibitions and events both national and international and their work has been exhibited in European and Asian galleries (Barcelona, ​​Valencia, Lisbon, Basel, Seoul ...)

They have also held workshops for children and adults in the Fundació Miró BCN, in the Graf BCN, in the Big Draw, in the National Library Madrid, etc.

Pep Brocal, illustrator, author of comics and graphic work specialized in wood engraving and serigraphy, postgraduate teacher of children's illustration at the EINA school and co-editor of the Badabum collective.

Http://www.pepbrocal.org/

Blanca Hernández, author of graphic work specialized in wood engraving and screen printing, graphic designer and co-editor of the group Badabum

 

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exhibition

AMORS DIFICILS

Blanca Hernández y Pep Brocal

07
Sep 2011
to
25
Sep 2011

Translated by Google translate

 

Opening: Wednesday 7 to 20pm.

TOUGH LOVE wants to be a graphical tour experiences as random as it is the equation formula here, and which is intended to reveal any unknown. Love is very powerful, can be the source of everything and therefore it can mean the end. Is u no engine life and, apparently, because of a long list of accidents, both of body and spirit. This exhibition wants to be a tumultuous news of large and small moments of lives that could be imagined as ours, or your or around the world.

TOUGH LOVE explores the ineffable experience from several I roads:

RHYTHM OF LOVE BUGUI BUGUI. The first part shows a series of experiences they want to measure the diversity of love in conflict, seen from a formal argument prism faces three basic, whimsical and ironic.

TRUE STORIES. The second part reminds us of news imaginable cases nonexistent, fragments of lives we spy shielded by impunity accidental reader, clippings dramas in which the likelihood is confused with the unreality of simulated news. Thus, from the parody, the treatment uses resources that recall the pictures of the Brazilian Cordel and visual solutions, rotary letterpress and sensationalist journalistic others and ; Few, like the newspaper The Case.

D'LOVE STORIES. Part Three presents a range of large format pieces and broader view on various aspects of love ranging from the symbolic explanation of their use in modern mythology.

 

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