Lluís Carulla Ruiz’s artwork takes it place alongside the great contributions to the specific art and its ground zero. We see a renewal of a neo-avant-garde style, which is distinct from the expressions exaggerations and the deconstructive drift. It is based in history and beautifully revisits the experiments and sensitivity of and impure, artistic research. From this milestone an allegorical meaning unfolds, a positive idea of art as a form and as an experiment in sensitivity and, in equal measure, of knowledge. The artist acquires a noble moral vicissitude: one has to not only make art and produce objects but, in an analogical sense, one also has to aspire so that these objects transform the experience of reality and create another reality. Art is the substance not a tool. Art affects us and move us. Living next to a work of art – in this case one by Lluís Carulla Ruiz – and coexisting with it, changes us from how we were before. Art does not reside in a living room, but instead in the chamber of being. The reader wil have realized that we are opposed to a strictly instrumental conception.
The sculptures in movement by Lluís Carulla Ruiz stir up still waters. In an instant, the static space is brought to life. Just like words or syntagmas, sight cells become active like contemplative thought. A calm dynamism. Here is a dynamic stillness, a holder of memory. Some are like dance movements, others are brushstrokes, while others still are akin to celibate mechanical rotations in the style of Man Ray and Duchamp. I would say that is visual material which takes its place in our mind and which energizes the art in the space… because we are a language within a physical and psychic, cosmic and social world. Without separation. Without pedestals. Art and technique, poetry and science.