ENRIQUE F. GIBERT
A LAND CALLED KUSH...
“Somewhere between the random and the mysterious slides the imagination, totally free of man.”
(Luis Buñuel, Spanish Director)
A land called Kush (2018).
80 x 60 cm.
Pencil and ballpoint pen on paper.
History
In my enthusiasm for visualizing fantasy worlds, I often rediscover places represented in older works. I created this map with the appearance of a feminine face. In it cities, seas, and various other images represented in previous pieces can be found.
During the making of this work, I imagined numerous stories of voyages, conquests, and adventures based on the hypothetical colonization of a new world by man. I am not a writer, so these stories will be kept in my head, unless of course someone else would like to take it upon themselves to write their own versions…
Details:
Cubillas Estuary (2015).
50 x 100 cm.
Pencil, ballpoint pen and pastel on paper.
First Drawing in the new series in progress “Magic Cantabria.” Fantasy Drawings based on landscapes and local sites in the Cantabrian region of Spain. One more drawing from this series here.
Kish Harbor (Sea of Anthar) 2004.
38.5 x 97 cm.
Pencil, ballpoint pen and pastel on paper.
South of Jiwani (2014).
55,4 x 111 cm.
Pencil, ballpoint pen and pastel on paper.
Life and death (2017).
40 x 90 cm.
Pencil, ballpoint pen and pastel on paper.
Mare nubium (2016).
40 x 80 cm.
Pencil, ballpoint pen and pastel on paper.
Conquest of the abysse (2015).
40 x 90 cm.
Pencil, ballpoint pen and pastel on paper.
Aqsuat Aqueduct (2001).
46 x 82 cm.
Pencil and pastel on paper.
Citadel (2017).
32,5 x 42,5 cm.
Ballpoint pen on paper.
The prison (2017).
32,5 x 42,5 cm.
Ballpoint pen on paper.
Dunai (2017).
40 x 60 cm
Ballpoint pen on paper.
Irsim. The Governor´s Palace (1997).
38 x 48 cm.
Pencil and pastel on paper.
The abbey (2014).
49 x 67 cm
Pencil and pastel on paper.
Cangas. The eternal bridge (2016).
21 x 29,7 cm.
Pencil on paper. Digital coloring.
Puentedey (2016).
21 x 29,7 cm.
Pencil on paper. Digital coloring.
Fort on the Northern border (1999).
53 x 43 cm.
Pencil and pastel on paper.
Gakush castle (2016).
45 x 32,5 cm.
Ballpoint pen on paper.
Starting trip (2020).
20,4 x 30,8 cm.
Pencil on paper.
Study for "The beach" (2016).
32,2 x 42.5 cm.
Ballpoint pen on paper.
Four reflections about the smallness and insignificance of man before his fellow man:
The mines of Nartush (2018).
40 x 60 cm.
Ballpoint pen, pencil and pastel on paper.
The mines of Kurgan (2015).
40 x 86 cm.
Ballpoint pen, pencil and pastel on paper.
Promised Land (2015).
54 x 36 cm.
Ballpoint pen and pencil on paper.
From the very first sketches of a giant construction, with the likeness of a factory, and miniature figures of people, the metaphor of emigration emerged. The image casts doubt on the supposed promise of a better life. As is often the case in reality, upon reaching the destination, there is nothing left but to see the infernal reality of what’s ahead.
Later the idea of the sinister city-factory also arises, representing none other but “the system.” Despite the fact that the people's labor is necessary in order for it to function, they are represented as miniscule, insignificant pieces. Beyond its walls there appears to be nothing. Only a misty landscape, desolate and sterile. That each interpret as they wish...
The bridge (2015).
40 x 86 cm.
Pencil, ballpoint pen and pastel on paper.
I began this drawing with the idea of representing a simple fantasy landscape in which I could merge two of my favorite constructions: a hanging bridge and a silo. "In my imagination some sort of abstracted fort or castle would be connected to a silo by a bridge."
However, the process of drawing this scene resulted in new unforseen images, such as miniature men transporting sacks on their backs, and I realized that the work had transformed into a metaphoric representation of human labor: the enormous effort of the vast number of underprivileged people who serve a small number of elites who live comfortable subsidized lives. Sound familiar?
From where they are, the workers can't even see the bridge, nor the citadel (another unplanned element) and meanwhile these very constructions require advanced skills and grueling manual labor to be completed.
That each reach their own conclusions…
The flowers of your gardens
are watered by our sweat
Our fatigue fills your table
with delicacies
We build the wall that shades your rest
Your fountains refresh
with the water that we lack
On winter nights we are wrapped
only by the smoke from your chimneys
The silo of your wellbeing we fill
The heat of harvest will pass
and the time to seed the earth
will return
Your land, your harvest
Our miseries
Gunam. The last frontier (1990).
40 x 80 cm.
Pencil on paper. Digital coloring.
History:
During the XIX century it was popular for artists to propagate the idea that in the middle ages the earth was thought to be flat. While historically speaking this is an over-simplification, based more on fiction and the desire to highlight the progress of cultural institutions by differentiating them from a previous era, various artists created iconic imagery to represent this idea. this kind of landscape has always interested me, I tried my hand as well. Currently there are two versions that surely will not be the last...
Tingri falls (2016).
40 x 60 cm.
Pencil and pastel on paper.
The images and texts found on this website are the property of Enrique F. Gibert. All Rights Reserved.