Miguel Marcos Gallery presents a new individual exhibition of Bernardí Roig (1965), who didn’t show his work individually in Barcelona since 2003, in his last exhibition at the gallery, Golpear el Instante.

Restricted Access includes a series of works (watercolors, drawings and sculptures) from the latest years of the artist that explore, from a deviant figuration, -as usual in his work-, the difficulty of looking, the stillness of an armored loneliness and the sterility of the language.

His work, obsessive and insistent, is an exercise in seeing that inevitably leads to blindness and that goes beyond light. By accumulating images and piling up light the gaze paralyzes, even though it still captures the tremor of the revelation or unveiling. The images dazzle, and consequently they both unveil and mute.

Some of this works result into a disturbing silence, they paralyze the speech by revealing unexpected places, they signal the incestuous relationship that we have with memory, strangeness and discomfort that beats within the repressed depths of our inherited image. They lead to an empty space that is filled in and absorbed by the image itself. But the image does not replace the words, it simply empties them out of content and assumes and integrates them, as words of silence.

That impossibility of seeing which is transmitted as blindness of light has been meticulously built by Bernardí Roig as a challenge that comes from the lack of color, the blinding white, a white instant that insists in its duration.

There is an uncomfortable correspondence between the hurtful light of the fluorescents and the white neutrality (abstract) that covers the bodies and heads of his sculptures. In the white frozen instant, the gaze is paralyzed as blindness and rigor-mortis, but also as an instant of revelation and contemplation of that which cannot be said nor told.

Bernardí Roig’s reflection about the gaze has assumed the exhibition model as “an alteration device” with a clear intention of building a visual intervention, posing a dialogue with multiple historic traditions and iconographies that reveal its multiple narrative possibilities.

This exhibition proposes a trick to our vision. The light, in fact, is the form acquired by such trick that tries to momentarily trap which cannot be seen nor said, only shown. An attempt to show a flow of untimely images imprisoned in an inaccessible area, of restricted access, that finds itself in the humid and dark basement located in our head, from which we do not have the key to access.