De Somnis VII

February 2019

-You have talked, in relation to the different formal variations of your work, about families. There are several families in
this exhibition; one of them is “DE SOMNIS”.
-The title “De Somnis” refers to a state of mind occurring while one is working which is evocative of the process of dreams. It has made me think about how these dreams come into our mental view. It is a waking dream, although at times it takes hold of me in such a way that everything around me is not just in the background but even further away from me. Even when I come out of that state, of that stage in my work, I am a little puzzled by the physical world to which I return. And besides, I cannot be interrupted, because I get very annoyed and sometimes I feel confused and I do not understand what people are saying to me. I am so far away that it is like a world of dreams.
-Are these dreams induced through work?
-They are dreams that follow each other as if it were a current, it is the only way I can describe it. Many issues related to painting cannot be explained.(…). Certain dream states call for a rather sombre atmosphere. It is something almost unconscious and definitely emotional (…)
Elena Vozmediano, “Pablo Palazuelo: ‘Los mejores pintores son hoy los españoles”, El Mundo, El Cultural,
Madrid, 21/XI/1999, quoted p. 36 (on “DE SOMNIS”)

Exhibitions

• GALERÍA SOLEDAD LORENZO 1999, n/c, col. ill. p. 16 (dimensions: 237 x 158 cm)
• MNCARS 2005, n/c, col. ill. p. 66
• MACBA 2006-GUGGENHEIM BILBAO 2007, n/c, col. ill. p. 224, cat. p. 328

Literature

• -ELENA VOZMEDIANO, “Pablo Palazuelo: ‘Los mejores pintores son hoy los españoles”, El Mundo, El Cultural, Madrid, 21/XI/1999, quoted p. 36 (on “DE SOMNIS”)
• ÓSCAR ALONSO MOLINA, “Pablo Palazuelo. El arrugado mundo”, La Razón, Madrid, 27/XI/1999, quoted unpaged
• FRANCISCO CALVO SERRALLER, “El furor gótico de Palazuelo”, El País, Babelia, Madrid, 27/XI/1999, quoted (on
  “DE SOMNIS”) and b/w ill. p. 17 (reproduced reversed)
• ALFONSO DE LA TORRE, “Pablo Palazuelo: sueño, y exilio, de la línea” in GALERÍA FERNÁNDEZ-BRASO 2011, quoted p. 41