The act of creation is a privilege that let us to shape your anguish, your dreams, your desires, your phobias.
Javier Huecas (Prat de Llobregat, 1958) felt from a very young age the need to capture his inner world through masks, drawings and paintings. He studied Fine Arts in Seville, Barcelona and Almeria. This last city is where he has lived since 1984.
His early work can fit into the pictorial current of the School of Paris, reflected through figuration and portraiture paintings. In his artistic evolution he has traveled through different stages, incorporating different symbolic elements of his own imagination: the warrior as a mythical figure, the wall as the limit of knowledge or the word as deception of the senses, among others.
As a sculptor he is known for his work in bronze and single-fired stoneware. The large-scale works include “Encarna”, which decorates the Plaza San Sebastián of Almería next to the parish of the same name, or the figures in front of the Apolo Theater in the same city. He has also made several sculptural series of small format, most of them figurative ones, using a rough and rusty texture that symbolize the anguish of the human being.
In these days of October and until next December a sculptural exhibition of Javier is exhibited in the Exhibition Hall of the Paraninfo of the University of Almería, entitled “Human Condition”. In the words of the vice-chancellor of University Extension and Sports, Javier is “an artist of exceptional sensitivity who, with his pessimistic and discarnate vision of the human being, makes a revision of the inherent weaknesses of the human being”.
During the summer Javier likes to paint nature using mixed technic, watercolor and pastel. The watercolor dries fast and pastel is a dry technique, which allows him to work layer by layer to achieve very rich results in terms of textures.
On experimenting with encaustic Cuní he achieved very good yields due to the fact that wáter-encaustic dries quicker, which enables to facilitate the superposition of layers of color without getting mixed. He also found an added advantage for storage, since he could place some canvases upon others without any transfer.
He began to test with very liquid paint, subsequently applying new layers with different level of dissolution, testing light on dark, dark on light and obtaining similar results to oil with the advantage that encaustic Cuní dries faster. The final result was a colorful Nature and full of light that, in his own words, is not the light of Almería but the light of his childhood