01
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Exhibition
imaginarium.
Where: Gallery Kalon, Fernando Remacha, 2 bajo.
 Tudela. Spain
When: 30 November to 28 December 2012
Monday to Friday from 19 to 21 hours.

Interview
Journalist: Anselmo del Barrio.
Tudeocio Magazine.
November 2012.
IMAGINARIUM
TITLE OF THE EXHIBITION BY PATRICIA BONET ON SHOW IN GALLERY KALON

I feel the need to bring hope to nourish the spirit, in order to remember the true nature of man. I think this is the thread that runs through my career, says Patricia Bonet presenting "Imaginarium" in Gallery Kalon, Tudela. She says that as a child she and her siblings grew up with pencils, brushes, drawings and colours. "My mother was a painter," she explains. "She was very fond of painting, although her personal circumstances didn´t make it easy. " Patricia Bonet studied Teaching and later went on to do Fine Arts at the Universidad Politécnica de Valencia.
- What style did you start with and how has this evolved to the present day?
Before starting at the Faculty of Fine Arts in Valencia I rented a small studio in the Formiguer art cooperative and attended classes in drawing and painting with the Cuban painter, Amaury Suárez, which he taught in his workshop. If I go back to that time when I was wild, so to speak, I would say that my creations were full of matter and..what? Freshness? Maybe it could be called Colourful informality?.
I was always attracted to creating things rather than reality, although ... I love some hyper-realists!!. Working from imagination, memory or memories, I listen to my feelings and intuition and try to be faithful to this, not following trends or submitting myself to cannibalism. I believe in a social revolution through emotions and beauty and free space, rejecting criticism and sensationalism when I detect it.. You could say I'm an abstract painter…I wish!!. If only I was able to free myself from my thoughts completely.
Regarding my collections, I think of styles as personal shapes and forms, with identity. I change styles according to how I live. It is true that these last two collections – despite trying to avoid It - have been characterized by a rigorous technical formality bordering on an illness. Order, order is needed, needed to understand what life is all about. However, they are very different techniques: AZUL was oil applied with many layers of glaze creating graduations and more ethereal sensations. Imaginarium is acrylic paint spots, predominantly solid colours and shapes. The first was done, mostly on wood and the other is painted entirely on canvas. What is certain is that there is a formal thematic link- a picture. Both in AZUL and in this picture from the new collection, a simple horizontal line forming a backbone to the landscape. One marine, and one desert? I have a feeling of what I will do in the following collection and, at the very least, sense a change in technique.
In terms of disciplines: I have played a little with various ones: photography, video art, light structures (sculpture), etc. but for now, I stand by painting, but, I say for the moment, because I am not married to any one idea or thing. I try to be true to what I do, and to what my heart dictates. Art is a commitment, free choice, but demanding, and at the very least requires commitment to yourself.
Maybe I can talk of two constants in my career: colour and optimism. I feel the need to bring hope to nourish the spirit in order to remember the true nature of man. I think this is the common thread that runs through my career. Just trying to find a personal style, a way with identity, honest painting that communicates, encourages the viewer and defends the freedom of art (or at least maintains the divide).
- What materials do you use?
In this latest collection I have used acrylic paint on canvas applied by roller and brush. In the AZUL collection, oil applied with brushes. There has been a bit of almost everything over time: images recorded in analogue and digital form to create videos, everything related to developing analogue photos, monotypes, work on paper, transfers, digital prints to create light boxes. Also mixed techniques such as water, latex and pigments applied to the process of the wash. Next, I think will be a wash with natural pigments and manguera ?combined with mixed techniques. Anyway, I understand that almost any material can be used to an artistic end.
- What do you want to represent with your creations?
I try not to represent much. I try to present alternatives. Suggest possibilities. To take into account nature, the rhythm of life, melodies, echoes and silences. I try to get close to the creative act and its potential. To construct shapes that invite play and feeling, to see things differently. Referring to the way art is diffused is like counting the grains of sand on a beach. Culture and art, besides being necessary, define our time and therefore everyone should approach them with a little curiosity. Hopefully people will give it a glance, and, at least, come away with a smile on their face.
- How many works will we see in Tudela and on what subject?
The collection includes 13 works. Six landscape (110 * 196cm), five of 150 * 150 cm and two of 110 * 110cm. All very different, but interconnected. Abstract and geometric with warmth. I don´t think they will all fit in. I don’t want to saturate. I want them to breathe. They can be enjoyed together but also separately. So, probably about ten will be included.
They are about the act of creation. The starting point was music. Throughout this year I have been listening almost daily between 8 and 10 hours of classical music. But ... and this goes back years ... I've been wondering how it was possible to compose abstract stuff like sounds (sounds, notes, melody, etc ....).
Nothing earth shattering, but this question was very insistent. I admired composers for their vehemence and it was interesting to imagine how they chose between many sounds and nuances. How does our brain retain a song, a melody, a voice, a bell, a sigh and a cry. Through an image? It's magic. It could be said that this is the magic of creation.
I am aware that composition is intrinsic to the act of creation. Any work is a composition, any piece of reality is a composition. Any agreement or disagreement is a composition. Any sentence is a composition. Composition also as a process, as an object that becomes part of the inventory of the world or learning. I know I haven´t invented anything. I am only trying to get access to other places and keep that childlike attitude to discovering the world.
This series, Imaginarium, I understand as a set of imaginary landscapes. Like uncovered landscapes, pieces of staves or puzzles. By the way ... What is a landscape? What’s the difference between an imagined landscape and an imaginary landscape? Imaginarium. In fact, this is where the title of the exhibition came from.
I would like visitors to the exhibition to answer this question. I am sure that between us both you would get a better answer to the question of what the paintings by Patricia Bonet are about.
- Where was your last show?
In Madrid, in Gallery Dionís Benassar.
- What are your next projects?
The new collection is what I am really excited about. Although it is true I need to clear or empty myself before I to start a new project, I can’t help thinking about things that emerged during the process of the previous work that I couldn´t give as much attention to as they deserved. Sometimes I take a photograph or jot something down in a notebook of ideas. There are always unforeseen surprises that you didn´t expect. Accidents? Some pass and others remain, they stay inside you waiting to take on their own life, hoping that time will come. Like life itself ... The next series is already brewing inside me and that, really, is what excites me most.
I would like to work again with children and learn about the way they approach life, their views and logic. Have you seen the documentary Que tienes debajo del Sombrero, a co-production between Lola Barrera, and Julio Medem Iñaki Peñafiel?. It´s a lesson. I am not going exactly along those lines, but I would like to have this kind of collaboration between people, to maintain a respectful attitude among equals, the ability to work in perfect harmony, what it is like to face up to creation (libres!! Free?) And above all, because it questions the limits of what is and what is not, art.
I also want to paint objects. Get away from the canvas. It is a project that I want to give more shape to and see if it persists…
At exhibition level, I am my own dealer and representative and I am going to dedicate some time to presenting the work and tying up the loose ends of exhibitions that are still missing some dates.
- For those who have read the interview and wish to see your exhibition, how would you recommend seeing it, with what kind of attitude?

Without any preconceived idea

Gallery
Kalon: Greek: those things whose value is self-evident.
The gallery was founded in 2008 and started in March, aimed at sewing the seeds of contemporary art.
In addition to solo exhibitions by artists with paintings, sculpture, photography and installations, the gallery also works on editing all techniques of graphic work (etching, lithography, silkscreen, etc..).
The project is based on alternating exhibitions by young artists and established artists
 
 
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