As a painter, two aspects have interested me in the use of this kind of concept: the mathematical, that is, measurement, ratio, structure, the elements that describe the universe, and at the same time, the experiential aspect, its possible use and meaning, perceptions, the degree of human response to the practice of experience. In this way, my work has evolved with the urge to find more communication and assimilate updated notions of the expressive elements traditionally used by artists, such as form and space, light and colour. “...Squares, which in general are no such thing, can never be superimposed. They are an appearance, a desire, a form like synapses or hyphens that join imperceptible pulses, forms and colours immersed in an apparent unstable silence...”
In reality, only some simple elements dared to activate those surfaces: lines turned into colours–light, able to impose their prominence and open scales of chromatic gradations in their surroundings, merely some small referential pattern –from the very titles of the works– seemed to point to certain interpretative possibilities, as a tutelary trap for the reader: 'horizon', 'landscape', 'decline of time'. They were like the beads of a rosary to accompany a possible sudden reflection... Román de la Calle.
Daniel Giralt-Miracle: When he saw your works, Eliseu T. Climent told me that he perceived a disturbing harmony, a particular search for balance, a cosmological dimension, between silence and the tension of a chromaticism that becomes transmuted as the geometric forms take on multiple variations. Don’t you find that a pertinent observation?
José María Yturralde: It is exactly what I try to get across. You mentioned that disturbing harmony: this concept is a very basic and necessary one for me. I see myself as an heir of a classicism that I have never really wanted to leave. I’m interested in that particular way of seeing the world that the so-called classics had. I’ve studied all the harmonic systems, all the compositional systems in depth and I could strictly follow all those compositional, musical and architectural rules that have been handed down to us, but there is always something unpredictable; there’s a lot of relativism. In this sense, this is understood better in Oriental culture. From there, one moves on to the idea of space, to the idea of time, to how to organise all these concepts, if they can be organised. There’s also that to-ing and fro-ing between the microscopic and the macroscopic. That coming and going, the fluctuations: how it seems that things happen that we never come to understand, and how parallel universes appear; how other dimensions emerge that we can form a part of, but we are unaware. We are unaware of all this from our practically two-dimensional view on a planetary or galactic scale, or... That fluctuation between such concepts means that at these times I have gone from wanting to make pieces that are like those fifteen stones at Ryōan-ji, which are more than an object in themselves, and more even than elements for meditation. I look for a work that is like a lens that can guide the eye and through which one can and almost needs to rid oneself of thought and flow, and to meditate in a way. Something like that, apparently nothing, a few vertical and horizontal lines (which are actually nothing of the kind), but if one attempts to penetrate this combination, you may end up inside a deep and distant soft or enveloping rain, the experience of which is more complex than what the picture seems to express. In this sense, then, it is like a kind of support, a medium.
As he states in his 'Diary': “I have been withdrawing more and more into painting, traditional painting [...], as a natural and immediate medium, not as a rejection of new technologies; on the contrary, I live with two computers, and I use them, but painting is the medium that suits me for the moment, here I can find fluidity, the right current, the smells, tastes, touch and textures that are warm and sensual enough to feel the necessary tremor and organic unity in the breath and rhythms shared between expressive action and ideas... My intention is to achieve an atmosphere of fluid transparency, of communion with a certain slowly expanding energy, that energy that refers to sensibility and emotion, to a poetic experience. Maybe there is a spiritual or mystic aspect, but I don’t think it’s specifically religious or sacred... Daniel Giralt-Miracle.


IVAM. Centre Julio González. Yturralde. IVAM. Valencia 1999 Polytechnic University of Valencia. Yturralde. Graphic Work. Ed. UPV. Valencia 2010.


(serie Horizons 2007-2010). Acrylic on canvas.150*170 cm.