Texto publicado en el catálogo
Inédita modulación [circa los años ochenta ]
Madrid: Galería ARTE 92, 2022.




A geometry unexempt from a rare encounter between solemnity and ludus. A low, resonant voice, rigorous and precise, bearer of the rare gift of clarity. A joy for what is accurate, this artist is seeking a strange space of neatness that does not excluded the promptness in directing new compositional journeys. Used to the sobriety of the broad senses, it is frequent that his area is the one of the questions to come, a beautiful silence that seems to hide in some of his compositions, other new forms of meditations in images. From a beautiful monochord saying, he now exhibits twelve compositions and three sculptures, titled by the artist as “Temporary Composition (8)” (1981-1987) and “Evolution (4)” (1985). Conceived generically as “Modulo” or “Modulación”, these are compositions made between 1981 and 1987, in which various formal variants from the square form are studied.

Inéditas modulaciones that represent what has been one of the criterions of the singular work of Carlos Evangelista (Salamanca, 1943), the serial work, the research by groups subjected to the analysis of what we could call the field of its various formal possibilities. These are compositions of an extreme hidden complexity, bearers of a formal exactness of various beats, among them, the refined use of colour subjected to imperceptible gradations that becomes a beauty with an air of the unexplored. Along with them there are numerous studies that will lead to the paintings, notes on graph paper, drawing albums or collages with colour notes, process photographs or small models. Also, his sculptural drift, like the three-dimensional piece “Evolution” (1987) with two models and the drawings that are related to it. Referring to his sculptures, I have already written about the air of construction that he considers a reimagination of space1, a world of questions about what is perceivable and the relationship between harmony and the secrets that forms contain. The possibility that a conjunction of layers in a space becomes a dynamic space. Sculptures that seem to establish themselves in space with an air of necessity, an exciting demand for the transfer of the pair of paintings with painted layers, almost paying homage to De Stijl and Vantongerloo, towards a display of forms from pictorial illusion to real space, as if symbolizing this movement of the artist towards the opening of a spatial dimension, as an imaginative impulse that grants the power to expand the limitations of vision. From an “indispensable balance”2, “Evolución”, that cycle of Evangelista, seems to announce the possibility of an immediate unfolding. Such an impulse of suspended layers, rêve de vol, awaiting the moment of its revelation. This sculpture is like an azure bird, raised from the solar plane.

The diaphanous modulaciones that Carlos Evangelista presents in “Arte 92” are, practically, an unprecedented set. Since some of them were shown in 1984 in an institutional exhibition hall3, they remained silent for almost four decades in his studio. I mentioned at the beginning his playful air, I like that transcendent sense of the term: “more radical than any other truth”4. As the creator of a modern timelessness, Carlos Evangelista belongs to a generation of Spanish geometers whose work was truly situated in an international context, like someone who carries an indomitable geometric anomaly. In that Spain of the 1970s and 1980s, these works, in a “post-Bauhausian line marked by Max Bill”5, epigonal to certain attitudes of minimal art. Heralded a resounding modernity in a country that, from the very-grey-post-war period, was turning towards the multicolor-today, while the tearing of the brave vein of informal art that seemed, rather, to link with the secular black of the 19th España Negra, even with the chiaroscuro of the Golden Age, was left behind. I review those words I wrote about Evangelista: a journey throw infinity looking for infinity6. Composition of layers unfolding, with a nervous air, in space, and the presence of colour defining the limits of the surfaces, his works are conceived from a complex analysis of possibilities, thus raising the signs between introspection and stripping, including a certain hermeticism that seems to tend to an amplification of that silence. That world of formal rhythms sometimes seems to evoke musical compositions, subtle and daring, space is not nothingness, but energy and intensity, Evangelista seems to point out, a space full of unknowns where formal processes will take place. His is an interregnum of reflection, filled of inquiries and doubts that, such irradiations, creates the need for an ambiguity full of questions as a radical incitement to think. The images burn, because, in the end, in his work is, not only the process of proposing the resolution of an idea undertaken but, at the same time, it is as soon revealed as it is deconstructed in a continuous exploration of forms. For Evangelista, each of his compositions becomes a world that also explores itself. What will there be beyond the limits, further from the end, to tempt us closer to glimpse of the unknown? To conclude, I now think that Carlos Evangelista is an artist comfortable with disappearance, who could use Blanchot’s statement: “How are we going to disappear?”. Something that fits with his distracted air and his well-known belonging to that “No-Grupo of Madrid”7. Visiting Evangelista in his studio, that capsule far from space and time looking at the Manzanares cornice, I thought of Wyndham Lewis’s words: “The greatest artists come to us from the future […] from the opposite direction to the past”8. From the future has come.




1 DE LA TORRE, Alfonso. El trabajo (y el anhelo) de lo visible. Madrid-Caracas: Galería Odalys, 2014-2015, p. 26.

2 IGLESIAS, José María. Carlos Evangelista. Caracas: Galería Graphic/CB2, 1992

3 Caja España, Carlos Evangelista. El poder aforístico de la geometría, Zamora, 20 February-6 March 1988.

4 KAUFMANN, Fritz: “the free play of the artist is not mere imagination without foundation. The foundation of artistic truth is, in some sense, more radical than that of any other truth. This artistic truth is transcendent”. This note came from the publication: Galería Fernando Vijande, Propuestas objetivas, Madrid, 8 May-15 June 1985, p. 96.

5 GIL, Julián. La vigencia del “No-Grupo de Madrid”. In the exhibition catalogue: Casa de Cultura, Propuestas objetivas, Zamora, 18 March-13 April 1986.

6 DE LA TORRE, Alfonso. Derivas de la imaginación (otras visiones de la geometría). Madrid-Caracas: Galería Odalys, 2020-2021

7 GIL, Julián. La vigencia del “No-Grupo de Madrid”. Op. cit. Here it was explained: “supported by a constructivist tradition with many years of history (…) the creative power to achieve independent advances (…) original ways of thinking.”

8 LEWIS, Wyndham. Wyndham Lewis. The artist. From ‘Blast’ to Burlington House. New York: Haskell House Publishers, 1971, p. 346.