S/T. 2013,  90 x 70 cm

S/T. 2013, 90 x 70 cm

S/T. 2013,  90 x 70 cm

S/T. 2013, 90 x 70 cm

S/T. 2013,  90 x 70 cm

S/T. 2013, 90 x 70 cm

Architecture of one world, architecture of another. 1990. Canvas painting. 130 x 114 cm Exhibition Seiquer Gallery 1992.

Architecture of one world, architecture of another. 1990. Canvas painting. 130 x 114 cm Exhibition Seiquer Gallery 1992.

The nerve of love passed through the eye (The crying planets), 1990. Canvas painting, 200 x 300 cm.

The nerve of love passed through the eye (The crying planets), 1990. Canvas painting, 200 x 300 cm.

Ácaro, 1975. Canvas painting, 196 x 170 cm.

Ácaro, 1975. Canvas painting, 196 x 170 cm.

Invitations, Galeria Vandres. 1976. 32 x 22 cm.

Invitations, Galeria Vandres. 1976. 32 x 22 cm.

Catalog, Joaquin Mouliaa. 36 Venice Biennale 1972. 24 x 17 cm. Vandres Gallery

Catalog, Joaquin Mouliaa. 36 Venice Biennale 1972. 24 x 17 cm. Vandres Gallery

Joaquín Mouliaa, 1979. Photo.

Joaquín Mouliaa, 1979. Photo.

Joaquín Mouliaa, 1979. Photo.

Joaquín Mouliaa, 1979. Photo.

Joaquín Mouliaa, 1979. Photo.

Joaquín Mouliaa, 1979. Photo.

Joaquín Mouliaá

Born 1944 in Madrid, Spain.
Studied at the San Fernando’s Superior School of Fine Arts, Madrid, Spain.

On precision and its opposite by José Ayllón

I have followed the path of Mouliaá from its beginnings. In his first works certain analogous characteristics of his artistic personality impressed me. He has not lost these with the passing of the years and his logical evolution.

At first; I was surprised by the inability to classify him in a determined tendency. I found no specific influences as usually happens with the majority of young painters, in spite of his open declarations of being “against everything” including that which they are making use of.

Without doubt, at that moment his work was no better, quality wise, than that of other artists of his age, but, in contrast with many of these, more restless, much richer in ideas. So I was immediately attracted by his trend thad old not follow fashionable theories not extravagant declarations, because what qualified his work was solitude and balance...

...Nevertheless, it is evident that Mouliaá is not trying to make an apology of doubt, quite the opposite. He is searching for the affirmation of an absolute, although it is true that he suggests various ways of reaching a fulfillment of the integration of existing.

Joaquín Mouliaá. The catalog has been published owing to the exhibition of Joaquín Mouliaá during the XXXVI Biennale of Venice in 1972.

CV