The Caja Castellón-Bancaja Foundation is set to inaugurate Azul (Blue), a new exhibition in the Sala Bancaja Hucha, bringing together various works by Castellón artist Patricia Bonet. The inauguration will take place on Tuesday 8 February at 7.30pm in the Bancaja Hucha Hall. 'Azul' will be open to the public until 25 February, and can be visited Monday to Friday, 11.00am-1.00pm and 5.30pm-9.00pm.

What is the 'Obra Social Bancaja'? By definition, Spanish savings banks plough part of their profits back into undertaking social works in their respective areas. These social works are what differentiate these institutions from other types of financial organisations. Bancaja programmes and manages its social works through the Bancaja Foundation and the Caja Castellón Foundation. The two foundations form part of the ‘Obra Social Bancaja’. The Strategic Plan for the Obra Social designs and regulates actions to be taken and determines at which sectors activities should be aimed. The artistic assets of Bancaja include more than five thousand works from a wide range of era and disciplines
obrasocial.bancaja.es obrasocial.bancaja.es/cultura/

Opinion: Amaury Suárez.
Azul (Blue)’.
‘A look beyond the eyes’. The Bancaja Hucha Hall of the Caja Castellón-Bancaja Foundation, on Calle Enmedio 82, is currently home to an exhibition of a series of oil paintings on wood by the young Castellón artist Patricia Bonet. The title chosen for the collection of works on display is ‘Azul’ (meaning ‘Blue’, in Spanish), a clear and direct allusion to the sea, and specifically the Mediterranean, which has been Bonet’s source of inspiration, as well as a privileged setting, which as an expert witness gathered the most beautiful chronicles of a conciliatory past, where Jews, Moors and Christians shared their daily lives and their future, leaving their know-how, their enriching stamp on current Mediterranean culture, which many people today feel very proud of, but also unable to return to that harmonious way of life of the peoples of yesteryear. And it is strange, because despite it all, Bonet looks to distance herself from social critique, seeking a more contemplative, emotional and aesthetic work, where the value of language in the discourse of the work is grounded in the plastic recourse, the result of which is one of great sensitivity and lyricism. Despite this apparent inscrutability that Bonet’s work may give off at first glance, and which on the other hand is very much in tune with the iconographic backgrounds from which she draws, such as the Suprematism of Kazimir Malevich or the colour-field painting of Mark Rothko and Barnett Newman as part of North American abstract expressionism, the grandly schematic compositional aspect that Patricia Bonet deals with in all her work and based mainly on a horizontal line at different heights along the plane of representation, suggesting the various visuals that we might perceive of the sea’s horizon through an imaginary window that turns us into voyeurs of the immensity of the waters and, together with his, the wide range of blues that the painter incorporates, in some way in their direct reference to what is proposed pursue two levels on which her works can be read; one close, individual or anecdotal that is closely related to the rapid identification of the motif (the sea), and the other much broader, suggestive and learned, referring to the concept in which it is enclosed, in other words, emotions, the scenario of calm and reflection that can even make incursions into the philosophical or mystical, and aspects linked to experience-based factors, among others. This is why the work of Patricia Bonet is as approachable as it is universal, as intimate as it is common to everyone, as hermetic as it is open in its conceptual intentions, which helps to create a broad polysemic spectrum of discourse. From the formal point of view, the works are exquisitely finished, where the use of colour has been executed using fine glazes, producing a beautiful, highly delicate result, where the colour blue becomes the main protagonist in many of its variations and combinations. The high quality that results in her works speaks of serious, constant work, worthy of those who seek to reach higher places of prestige and recognition with their art. Although the current work by Patricia Bonet is very close to her plastic predecessors, which would also include her teacher, the minimalist Valencia artist Rafael Calduch, and which as a result prevents her current work in some ways from acquiring a “personality” of its own in its language and iconography, it does reclaim the honourable and traditional role of the artist, who despite the pressure exerted by technology (refuge for so much fraud and trickery by some, on the other hand) is convinced not only of her contemporary position and validity, if not also of the clear possibility for her to find her way with originality and distinction in the current art world. The exhibition is open to the public until 25 February, and can be visited Monday to Friday 11.00am-1.00pm and 5.30pm-9.00pm. It goes without saying that I effusively recommend a visit, because without a doubt beauty reigns inside the walls of this exhibition.