Los Susurros of Juan José Ayllón inundate la FCP

November 21 begins the last of the exhibitions that la FCP opens in 2013 and sirves as the climax of the temporary exhibitions that the Museum has shown this year, which is dedicated to the painter Juan José Ayllón. In regards to his painting career in Mula, he had alternated his artistic work during the years with a professional role bound to the world of health, occupying a prominent place for a lot of his life, and constituting an inseparable part of his personality.

Under the title Susurro, gathered for the first time in la Fundación Casa Pintada in Mula, a selection of his many works. It is a brief retrospective approach to his finished works during the last 30 years of work, in which the painter had developed different ways of expression. His work always critical and marked with commitment to the social environment and natural environment is the result of his approach and knowledge of artistic and historical context, both national and international. In Juan García Sandoval’s words, Director of  the Museum of Fine Arts in  Murcia: In the current showing, Susurro, Ayllón is presented to us as a master of tremendous wisdom and perseverance, hence his large trajectory, that explains his strong will for permanence and constant renovation. His work is a result of many years and movements; a forger of ideas and thoughts. At times his name and artistic activity has remained a secret, a secret kept by his colleagues, that is compensated when the eyes of someone else appreciates his ingenious works, a result of his Open Study, a particular workshop of  Ayllón, that offers us the opportunity to study his work with a special way of looking; they are projects of an architect of art and of a whisper that is heard, seen and felt in the view of art lover and frees spirits.

The first works presented in the exhibition Autorretrato or the corresponding series Abstracción Geométrica or Equilibrio displays to us his connection with Spanish art during the mid 20th century, especially in his Picasso, geometric and normative facet.

This same influence, but with a transition towards expressive figuration, that each time will adopt a bigger importance in his work, is what we can observe in one of his most prominent canvases, Monseñor Romero visto por Mathias Grunewalt, a work that was part of the International Exhibition of Sevilla in 1992. In the same way that El Baño de Afrodita and Incomunicación demonstrates to us the constant presence of the human figure in his compositions, that goes beyond the mere representation, it alerts us of situations or important historical events.

The decade of the 90’s positions us before a strong expressionist painter, where the characteristics and attitudes gradually depend on the use of expressive color scheme and brush stroke dynamic. El Templo del Becerro de Oro, Expulsión del Paraíso and Caridad y Camarón cantando una saeta,moves us to a newly critical space, under the contrast of the stock market and the human frailty.

Casa Pintada y Mi hija Rafaela ante una obra de Cristóbal Gabarrón are verification of the painter’s concern for his native locality.

Nature is his second personal concern, thus his most recent works have mainly leitmotif subject matter; La Poda del Árbol de la Ciencia del Bien y del Mal, Vísceras or Cruz Arbórea are testimonial complaints of the deliberate aggression and monetary gains of the natural environment. The same environment that Ayllón enjoys and reinterprets in his organic sculptures and figures made of olive wood and in this occasion is shown in la Bodega of la FCP.