JORDI TEIXIDOR
Valencia, (Spain) 1941
He studied at the Escuela de Bellas Artes de San Carlos in Valencia, where he coincided with the painters of Crónica de la Realidad. His early work, produced in 1965, included incorporated objects and was seen in an exhibition in Cuenca, through which he came into contact with the artists there and in 1966 was made curator at its Museo de Arte Abstracto. His work in that period was influenced by Torner’s more matter-focused work, already revealing a concern for rational articulation and formalist treatment and a care for colouristic nuances. He showed the works of his series Puertas (Doors) at the Galería Edurne in 1968, and that year he became a member of Nueva Generación, promoted by Juan Antonio Aguirre, and –the following year- of the Antes del Arte group. In 1972 he made his Aperspectivas (Aperspectives), works on wood in which he proposed a visual ambiguity based on an ironic, absurd use of composition and colours, and also a series of sculptures and objects, which he exhibited at the Daniel and Sen galleries. During that period he also visited Paris (1972), where he came into contact with the Support-Surface group and the work of Rothko, and the United States (1973), where he renewed his interest in painters such as Matisse and Newman. That year he started a self-analytical stage in which the problems of painting came to the fore, with references to Synthetic Cubism, the work of Juan Gris and Russian Constructivism, and in which he returned to canvas and brushstroke. There were overlapping series in his work, which was shown regularly during those decades (10 abstractos, Buades and Vandrés, Madrid, 1975; Joan Prats, Barcelona, 1979; Theo, Valencia, 1983; Palacio de los Condes de Gabia, Granada, 1993). He maintained a course of exploration in monochrome paintings with repeated stripes (white, pink and yellow in 1977, a year of more rapid brushstrokes, becoming blue in 1987, with the appearance of a looser stroke and dripping). He lived in New York from 1979 to 1981, and in 1980 he was selected for the exhibition New Images from Spain. In the nineties he made various series that referred to limits, such as Los límites de la memoria (The Limits of Memory), and tributes to Monet, such as Serie la catedral (The Cathedral Series). In 1994, with Las contradicciones (Contradictions), black appeared, and also religious titles, and in 1997, when his work was exhibited at the IVAM, expressive elements disappeared in favour of a black surface.