Pigment Gallery

Pigment Gallery was launched in Barcelona in January 2016 with the aim of adapting interactively to the changing global society in order to ensure contemporary art reaches anyone with curiosity or sensitivity towards art.

Pigment Gallery deals in the promoting and publicising of contemporary art, within new artists from both home and abroad, and to present their works both nationally and internationally, especially at the main contemporary art fairs held around the world. The gallery supports a take on reality and current trends that fees from modes and cliches, in search for new voices that provide a fresh breeze to the art world. Discovering, sharing, investing and generating discussion spaces rather than merely exhibiting.

Represented artists:

Rosa Galindo, Juan Escudero, David Morago, Rosanna Casano, Marta Fàbregas, Manu vb Tintoré, Marcelo Fuentes, Gerard Fernández Rico, Patricio Reig, Anke Blaue, Penélope Clot, Jordi Martoranno, Carlos Tárdez, Diego Benéitez, Martina Manyà, Eduardo Pérez - Cabrero, Rosa Artero, Carla Tarruella, Francesca Poza, Dominica Sánchez, Diego Ferrari, Marcel Camps, Marcos Isamat, Benjamin Gaumard, Victor Silva, Juan Miguel Quiñones, Mario Pasqualotto, Ana Monsó.

Manolo Sierra (Cádiz, 1973) places himself at the very opposite end of his usual way of working and understanding pictorial activity.
The video presents a painter who appears to be immersed in his creative process, although the content suggests a carefully staged performance. From the very first seconds, there is a noticeable aesthetic construction focused more on the image of the artist than on the authenticity of the creative act. The painter arranges materials, mixes colors, and performs calculated gestures in front of the canvas, yet without showing any real development of the work. The brushstrokes seem choreographed and do not produce any significant changes, indicating that the piece was already defined or completed beforehand.Lighting, music, and camera framing reinforce this theatricality, prioritizing form over substance. Rather than documenting a genuine artistic process, the video functions as an idealized representation of the act of painting, aimed at an imagined audience that values visual appeal over content. In this sense, it moves away from art as an expressive search and approaches advertising aesthetics with a critical undertone.