Two artists born in painting, two artists who in their journey have never ceased to surprise us within that supposed self-taught formation that always breaks with natural curiosity of the artist.

   One of the virtues of these two artists apart from others is their capacity for metamorphosis in their approaches with the tool (currently) and conceptually throughout its journey and with an assessment and a broad vision of art without neglecting that humanism that is presupposed to every artist.

His research supported by the impulse of work and transiting at the same time with theory and knowledge give us his keys.

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    Aitor Etxeberria takes us on a journey through his latest paintings (rigorously abstract and tremendously evocative, emerging from the depths but full of light, light wrapped in color and also a deep black) towards a sculpture in which the intervention of the found object becomes the main asset.

   Sometimes the very space of the found object becomes the protagonist by acting on it and participating in the work.

   The passage of an artist to a new discipline or the use of several and in this case sculpture as new for Aitor Etxeberria (well, a few years now) many Sometimes it gets complicated but as I said before they always surprise us and now too.

   This multiformality in painting also occurs in his sculpture and it is precisely in this space where surprises occur again.

   Etxeberria refers to the found object (arte Povera) as the nucleus, vision and outlet for creative exercise.

   The mimicry of objects and their manipulation is such that in the creative exercise that identity of the found object is lost and a new one is born.

The use of paint, cement, mud and other techniques on the object makes this happen.

   Surrealism (automatic work) Arte Povera, industrial archaeology, confrontation of concepts, hard, fragile, white, black, transparent, opaque, etc.

   The result of all these ingredients are in many cases organic and anthropomorphic shapes.

   Highlight in his catalog of records public sculpture, work in concrete and steel, distinguishing in his work both circular and arched lines and a use of balance as a factor of importance.

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   Aitor Sarasketa, his partner in this confrontation of gazes, challenges us to the painted support with a perhaps more intimate offer in his final invoice.

   In his work process, sessions and chance are fundamental. An almost unnoticed, relaxed, non-violent chance, a chance that many artists seek, as does Aitor Etxeberria with his objects and his paintings.

   Not only does the frontal view exist, but also lateral and this sometimes shows us the work of layers and sessions of that time lived in the work and explains how technically we have arrived at that frontal image.

   And here we are, in the frontal image, better said frontal representation, a representation (saying this because of the painted plane) in which the light of the depths of color invading us and embracing us with its mystery.

   Painting for painting's sake from which the viewer enters the search for emotions through the senses challenging (painting) and challenging us to look with that representation out of focus, making us defend ourselves against that dubious representation, forcing us to go back and forward in search of that image that ends up appearing from our imaginary.

   Looking at the work of Aitor Sarasketa and yes, I say looking, it's like looking at the blue or gray sky, the river with your gaze fixed on the water or the ground when we walk

The movement hypnotizes us, a movement created with his painting in a subtle way.

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   An Exhibition to circulate among his works, from Sarasketa to Etxeberria and vice versa, mixing views, his and ours.

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Peter Bingen

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