Identities is based on a differential story where each work is an unfolded identity. This exhibition speaks of their beauty, diverse identities and perfect coexistence. Abstraction dialogues with figuration, just as sculpture also has a presence in this exhibition of differentiated identities.

Light plays a different role in each of the artists. In Patrik, light is a fundamental factor in segmenting information into layers of abstraction. Grijalvo undergoes an exercise of strong uprooting with the natural reality while photography becomes sculpture.

In Javier Ruiz, on the other hand, light-bathed in dreamlike hues permeates the scenes. Javier mocks every day as a praise to the sublime and captures the exact moment of dialogue between both worlds. This line could be related to Cesc Abad‘s naïf and ironic style. Abad shows a hybrid reality between the technological revolution and animal instinct. With acid and refined look, metaphor is the order of the day as an expressive weapon.

On the other hand, Dirk Salz‘s images are placed on smooth surfaces that serve as metaphorical mirrors for the viewer; mirrors that reflect the viewer as a way of understanding the framework in which the work is set, its viewer and the relationship that is created between the two. The viewer is reflected in the work, while the work reverberates in the beholder. In relation to Dirk, Eric Cruikshank studies color as a tribute to his native Scotland.

The use of color in an emotive way translates into a study of the everyday, while encouraging the viewer to address notions of their surroundings, where the familiar is opened up and filled with possibilities. Her artistic process opens a dialogue between the past and the present, the historical and the contemporary. The pulsation between past and present vestiges is addressed by Francisco Suárez in his painting. The geometry in his work translates into a certain mysterious impulse of what arises spontaneously in the act of painting. His fields of lines are born from drops of paint that, placed freehand, flow over the surface and give the whole a special vibration.

On the sculptural level, Mario Dilitz contrasts the aesthetic beauty of his sculptures and the content of the themes, in a profound confrontation with the vagaries of human existence. His sculptures, most of them life-size, are placed on the same physical plane as the spectator, in an eternal wait to begin a dialogue.

In this same sense, Lluc Baños unfolds a new personal imaginary. His work is built on the decoding of signs, formats and materials as if it were a language, with which he offers a scopic vision of the act of seeing, representing, and knowing.

In general, it could be said that the works are the result of expressive freedom on the part of the artist. In his representational outburst, they place new characters within his inner world unfolded as a way of distancing himself and appreciating his own reality, now in the third person.

Perhaps the common axis of all the works is the depth, different but at the same time linked to similar sensations: the spectator enters into the work as well as into its creator. In this exhibition of different characters, the paradox extends in turn: the hidden becomes visible. Identities allow the materialization of the most hidden part of the work: the identity of the artist.