Tomas Sivera
Abstraction as an inquest of creativity and experimentation
Tomas Sivera
Tomás Sivera, 2-dimensional plastic creator committed to himself and his contemporaries, reflects in his work an interest for the human being in a social, political and economic context, which, is present in all his paintings and which are a turning point centred around what we are, who we are, why, what for... some of humanity's greatest questions, which rarely have an answer, only retains their reflection and impression, are shades of the human being, which through the use of black in the shadows that being projects enable a less meticulous shape that doesn't distract the audience's attention, as well as emphasize semantic concepts such as volume, form, which on their own, acquire a human status, from the inside out, externalizing his feelings and Tomás' work's expressive intent.

A Humanist painter, which, with his work, searches the human being's freedom, to make him find himself and in its own context. Using a limited palette, while rich when transferred to the canvas, like a primitive painter, prehistoric, even, he uses the red and black colours that prevail in his work, the other colours are conditioned and complement this base. The shadows' representation occurs because there is someone who causes them, but without details, transparencies and reflexive shades that hide the desire of the representation and above all, make the observer think.

Moisés Gil Professor UPV
Artworks by Tomas Sivera
The theme of the works is the human figure, who at the same time is a silhouette acquires corporeity without abandoning the flow of smoke. It is shown mainly in movement, that is, in action, sometimes several grouped figures, other times alone. Movement as displacement, or as a means to achieve something: a sports goal, a challenge to beat, a flight or a trip. The smoky figures are immersed in more material backgrounds, more colorful, but dull, and are shown both alone and in large groups, silhouetted, without internal nuances. The color appears smoothly, the figures are framed in a space of green, gray, blue and ocher tones, with a greater luminosity and poetry. This game of unstable, flowing figure represents the tension between movement and stillness, in short, life and death. Displacement is the path between one extreme and the other, a trajectory full of effort, achievements or failures, but always with hopes for the future. The technique, fumage, little used in Spain, gives it a special, vaporous, evanescent touch.