Yago Hortal’s paintings are revealed as true kaleidoscopes of extraordinary chromatic wealth. His forms and colours are as open and expansive as they are meticulous in their impeccable visual clarity. With nothing to hide –since there is no fortuitous accident in his paintings- Yago Hortal constructs outbursts of colour that exceed the dimensions of the canvas itself, as if it were a playful wave that jumped over the dock. Perhaps wanting to project himself beyond his limits, always imprecise but sure, his paintings float towards the nebulous space of our imagination. And although the feeling of unpredic- tability dominates, we soon discover the existence of an unexpected order governing every composition, each thrust of colour, every twist, every excrescence.
Vehemently captivating in his use of color, heirs to the sumptuousness of the expressionist gesture and driven by an evocative passion is not without a refreshing breath of air, the uplifting vital energy of the paintings by Yago Hortal is bursting into the international contemporary art scene with a resounding force which can only be seen on rare occasions.
This fresh air, this burning flame, this “hyperpantone” of his, evokes the kind of visual fulfillment like those paintings which trace the history of modern art on the walls of museums throughout the world. Gestural abs- tractions, radical color, a frenzied and at the same time, classical “only painting”, were configuring a very potent antidote to this “liquid art” of today where “the work”, is seen as a closed whole or as a completely autonomous configuration, had lost its place. “… we live in a world saturated by the aesthetic – pronounced Zigmunt Bauman – but in a world where there are no objects of art, where there are no works of art. Yes, there are still some out there, but they are in the museums…”.
Everything is left open to interpretation nowadays. Yet when we virtually begin to interpret the delightful painting of Yago Hortal, we realize that we are witness to the blossoming of a talent, the beginning of a career of someone ready to tackle nothing more and nothing less than that powerful distant tradition where the pic- torial compositions were struggling until “coming up with the final, definitive, ultimate composition in which nothing can be improved”.
– Pilar Ribal i Simó