The Canonica de Santa Maria de Vilabertran inaugurates 'Vessar l'ombra' by Pep Aymerich

On July 12, the Canònica de Santa Maria de Vilabertran (Alt Empordà) will host the opening of the exhibition Vessar l'ombra, which brings together works by the Girona artist Pep Aymerich, curated by Ingrid Guardiola and which will be visit until September 8. The inaugural event, which will take place at 7 p.m., will be attended by Sònia Hernàndez, general director of Cultural Heritage; Ingrid Guardiola, director of Bòlit, Center for Contemporary Art. Girona, Eudald Brugat, mayor of Vilabertran City Council and the artist Pep Aymerich.

This exhibition shows an intense methodological and experiential research, a way to find a syntax and a space of one's own through painting as a medium, a practice that had begun to be investigated in 2017 with Annunciation of the Apocalypse, but which had not continued . Like the hermit, he has confined himself to making his own painting. The architecture of rhombic dodecahedrons is a home, a world, a temple perhaps. The artist holds a liturgy to manifest the creative and destructive potential of everything that man touches. The painting struggles with honey, fire and the end of time. Despite the darkness of time, Aymerich rehearses a few last traces, collects the remains, gives way to the bees and their magical work, arranges the matter so that we can be in front of that darkness...by natural piety..., into the light or into nothingness. Who knows. Sometimes, life must take the shape of an arc and it goes back to the origins, that is to say, to childhood and the losses, the holes, the nakedness and the wounds that accompany them, also the historical ones. Nothing was necessary, nothing was due, but he made his way as he shed the shadow.

Pietat II (2011), Macla (2014) and Annunciation of the Apocalypse (2017) precede Perfum i ombra (2024) where the hexagonal cells of honeycombs inspire the architecture that houses the paintings he has made inside the Canonical Wax and charcoal combine with natural pigments to create a penumbra space for chromatic and spiritual meditation.

The artist traces the darkness, but not from the body - as he has often done - but from the stroke, consciously sinking into the intuited shape of the rhombic dodecahedron that he himself has constructed and that is generated at the intersection of the hexagonal prisms that make up the cells of bees.