His images bet on the reaffirmation of the retinal principle that in modernity was the spearhead but that, based on the transavantgarde and the new expressionism, has broken the barrier of "disinterested" appreciation, opening complex relationships of meaning where the elements of artistic configuration have been endowed with meaning and conceptual load that goes beyond the simple textual interpretation to propose intricate problems to perception.

In this sense, painting, the one carried out by Biderbost, bets on implementing complex visual linking systems that can hardly be "read" with syllogistic approaches and precisely in this lies one of the substantive contributions of his painting, in the orchestration of frameworks where the The spectator has to give meaning beyond the iconographic anecdote or the interpretive scrutiny to face the vertigo of the senses and the inevitable somatization of the perceptual experience as a means to arrive at the implementation of concepts about reality.

Astonishment, empathy and discovery are part of the responses unleashed by the expressive and conceptual instruments of this artist, who by dint of implementing visual strategies of seduction, ends up throwing us into a maelstrom of experiences where rational schemes of thought to force us to measure ourselves as sensitive entities more than thinking ones, and make us understand that the communicating vessels with our environment are of an unstable and complex nature. With this simple but enormous strategy, Fernando Biderbost reaffirms the power of painting as a means to reactivate the capacity for wonder in subjects, but above all, to implement the complexity of thought as an alternative that allows us to build reality from an eminently human perspective. .

Julio Chavez Guerrero

Nothing to interpret the step of others, or play the same key. Nor is it about applying what is known, but about processing change and difference. The atmosphere of a metamorphic feeling that is pulsating.

Xavier Saenz de Gorbea

It seems to undertake at times a recovery of the mandatory values of figuration, by abstract means. Many of his paintings have something similar to figures in something similar to a horizon, without us being completely before either of these things. The viewer's perception is thus organized in a classic way, trapping it in the tensions between masses and surroundings, background and foreground. At the same time, the poles of these tensions constantly denounce their bare pictorial nature, abdicating any imposture of representation.

Jaime Cuenca.

His works, usually untitled, leave the viewer's imagination as pristine and open as their own. His voice has its own accents within the lyrical abstraction that has been cultivated in the country, although it has echoes and reminiscences of the previous generation of abstract expressionists.

In his painting he uses mixed techniques: oil and gouache, pencil and pen, stain and dry paste, all in one and in unison, until he achieves the desired symphony, subtle, evanescent, rich and suggestive, for the eye and senses. Biderbost is a born enjoyer, sensual to the core, a huge polyphonist.

Probably his work contemplates and absorbs many others, but he does it in a personal, own way, between abstraction and surrealism. It engulfs and returns us in a subtle and transparent way poetic and profound worlds, halfway between subconsciousness and automatic pleasure. His painting is instinctual, automatic, gestural and at the same time refined and exquisite.

As the author himself would say: “The achievement of a painting occurs, above all, when it is capable of manufacturing its own atmosphere, which makes its internal unity, which means manufacturing its independence. Cut the threads that bound you to it while you painted it. Your automation. But it is complex to know when it occurs”

Edorta Kortadi