The untimely appearance of objects, characters, or parts of the same painting, looming on a background of an Informalist nature. The apparitions also evoke a long tradition of popular histories that refer to apparitions and the finding of sacred figures.
The action of adjoining two, or more, remote and distant objects with the vocation to save all the accidents and convoke new images, eliminating the distances that separate the one from the other. Otherwise referred to as collage.
Pessebrisme (Crib building)
An extrapolation, to the category of method, of the popular trick of using cork to imitate mountain ranges in nativity scenes: the ability to represent reality through a change in scale.
Strategies and artifacts to capture and transport the world in pictures. This knot celebrates and laments the impossibility of mimesis, while at the same time invoking the profuse circulation of cultural icons and their mass distribution.
El món com a llenguatge i el llenguatge com a món (The world as a language and language as a world.)
The accumulation of discourse, specific to areas of culture, be they texts or paintings, is equated to geological strata and layers. When, in 1989, Perejaume wrote "a world behind the words" he also admitted that language does not exhaust a territory.
Autografia – (Self-graphing)
Recognition of the autonomy of natural agents and the expressive mechanisms at their disposal. From this perspective, reality is an instrument that expresses itself (self-graphs) evading any form of expression other than its own. Initiatives such as the Parliament of Things, promoted by the French philosopher Bruno Latour, propose a communication between species, between what is human and what is not, very much in tune with this resource typical of Perejaume.
Aural acuity towards the verbal character of reality (vid. Self-graphing). Recuperates hearing, a sense historically marginalised and less acculturated than sight. From here stems a politics of sound that undermines the scopic regime which legitimises the existence of landscape as a cultural construction rather than a lived experience.
Humà i no (Human and non-human)
Questioning of the human voice in the endeavour to grant a fictional voice to the non-human. The belief in a non-human voice grants agency and the capacity of self-representation to everything historically subjugated by the discourses of cultural production.
Deixar de fer (Abandon making)
Protocols regulating artistic production derived from sustainable proposals: subtraction of paintings deposited in places, restitution of images extracted to their locations, recognition of the world as a self-graphing work and the conception of work as the non-realisation of work. Rejection of the obligation to make.
Displacements, continuities, transitions, trajectories of meaning. The excursions and derives often draw artistic objects out into the open, tracing itineraries that are contemplated as a practice of drawing or expanded writing.
Regrouping manoeuvres, that respond to the great proliferation of images, in the endeavour to generate new figurations and meanings.
Term that amends the habitual use, in the early years, of the word landscape and avoids the implications of a treatment that is optical, epidermal and distanced from place, in favour of one more tied to the act of living and blending with location.