Presencia no2, 2026
Painting : acrylic · 90 x 62 x 1 cm 35.4 x 24.4 x 0.4 inch
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Shipped from: Mexico
Delivery to: Germany , € 79
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About the artwork
Type
Painting : Unique artwork
Condition
Artwork sold in perfect condition, not framed
Authenticity
Sold with certificate of Authenticity from the artist
Invoice from the gallery
Signature
Hand-signed by artist
Technique & Support
Dimensions ( cm • inch )
90 x 62 x 1 cm 35.4 x 24.4 x 0.4 inch Height x Width x Depth
Sold by
Art gallery
Credentials
Vetted seller since 2023 • Top Seller
Description
Presence No. 2, a work by Juan Ibarra, presents the human figure as a perceptual construct rather than a representation. Based on the concept of presence, the work explores the state of "being" through an image that does not fix identity, but rather dissolves it into a direct, silent, and open visual experience.
The work of Juan Ibarra and the dematerialization of the portrait
This work by Juan Ibarra operates from the tension between structure and dissolution. The face appears as a pictorial device where layers of acrylic, visible strokes, and eroded areas configure an active surface. The frontality eliminates narrative depth and situates the experience on the perceptual plane. The material does not illustrate, it constructs: each gesture modifies the stability of the image, generating a presence that fluctuates between appearance and disappearance.
Presence no. 2, a work by Juan Ibarra in the context of his artistic practice
Presence No. 2, a work by Juan Ibarra, is part of a broader investigation in which the Acapulco-born artist works with painting, sculpture, and art objects, incorporating industrial and organic materials. In this piece, Ibarra's use of acrylic on paper condenses this material exploration onto a direct and unadorned surface. As a work by Ibarra, it does not seek to represent a subject, but rather to activate a perceptual relationship where the viewer experiences presence as a phenomenon.
Presentation
The burning sensation conveyed by Juan Ibarra's proposal is comparable to the feeling of seeing cuts and openings in flesh. It is no coincidence that the painter inherits techniques such as frottage and grattage, which give his canvases an aged appearance. In fact, his work is adjacent to the European tradition that encompasses informalism and abstract expressionism. In this way, the artist aims to highlight the worn-out character of painting, as well as the range of textures and reliefs that literally detach from the canvas.
Somehow, his pieces speak of the pictorial disintegration that not only exhausts itself but also gives rise to an exposed process of material healing. Therefore, his creations represent matter in a raw state of cauterization and transformation. This aesthetic of decay is crucial to him as it exacerbates the fragmented nature of the materials he uses to paint. This is because he deliberately resolves his compositions and, to a certain extent, anticipates the ravages of time in the realm of plastic arts.
Hence, his art decomposes color, forms, and spaces, along with their multiple interrelations. It is worth mentioning that the artist works in layers, much like sediments of rock formations, to then intercalate and blend the background with the surface and vice versa on a single plane. Furthermore, his works frequently feature geometric and expressionistic linear structures that enhance the visual effect of corrosion while carrying an immeasurable dramatic charge.
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