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Within a very personal movement that the artist himself defines as pop-symbolist, the pieces by Quico Buendía have many conceptual ideas concerning reflections on life, relationships and men. When fate led him to give up studies in sociology in exchange for paintbrushes, initially, and later for visual arts, the artist who visualises sculptures in colour, like classic artists, became alive. However, even without polychrome, the finish of his pieces offers, through texture and tone, certain nuances that dramatically replace painting.


Inspired by Henry Moore's work, and fascinated by the freedom it offers the observer and its peculiar nature of being made to be touched, or the suggestive colouring of Lichtenstein's compositions, the artist intentionally aims for every observer to personally interpret and draw their own ideas of the pieces. Reflecting on life and death (Los dos Hermanos [The two Brothers]); the balance that living entails (Cántaro sostenido [Supported jug]) or the feelings expressed in Árbol de puñales [Dagger tree] (trees designed as intelligent beings, adapted to the environment, in a metaphor for nature and friendship, from which leaves-knives sprout) are the foundations of his creative universe. Ifrit Ibérico, on the other hand, conceals an emotional memory of the little domestic devils he heard stories about in his childhood.


Nowadays, he prefers using warmer materials, extra-tough plasters that provide more pleasant qualities and textures to the sculpture. To create sculptural drafts he combines textures, materials and plasters, even carved wood.


 


SOLO EXHIBITIONS


2003. Imán [Magnet]. Painting and drawing exhibition in the Centro Cultural Las Sirenas. Alameda de Hércules, Seville.


2000. Café-Galería Imai. Seville.


1999. Bar-Galería Castilla. Seville.


1996. Dibujos [Drawings]. El Globo. Guadalajara.


1995. Paisaje [Landscape]. Centro Cultural Ermita de Santa Ana de Pastrana. Guadalajara.


 


COLLECTIVE EXHIBITIONS


2004. Estampa [Print]. Salón Internacional del Grabado y la Edición de Arte Contemporáneo [International Printmaking and Contemporary Art Fair]. Capa Esculturas. Madrid.


Exposición de carteles [Poster Exhibition] Día internacional contra el racismo y la xenofobia [International Day for the Elimination of Racial Discrimination]. Regional Government of Andalusia. Seville.


2003. Estampa [Print]. Salón Internacional del Grabado y la Edición de Arte Contemporáneo [International Printmaking and Contemporary Art Fair]. Capa Esculturas. Madrid.


2002. New work. Capa Esculturas. Madrid.


2001. Inauguration. Capa Esculturas. Brussels.


2000. Presentation of new works. Capa Esculturas. Madrid.


1998. Ciento y... Postalicas a Federico García Lorca [One Hundred and... Postcards to Federico García Lorca]. Collective Fórum Filatélico. Madrid.


1997. Inclusion in permanent exhibition. Capa Esculturas. Madrid.


1996. Tal para cual [Two of a kind]. Centro Cultural de Las Rozas. Madrid.


1993. Antonio del Rincón Drawing Competition. Guadalajara.


Pinceles por África [Paintbrushes for Africa]. Madrid


Cárcel interior [Inside jail]. Installation Príncipe, 11. Madrid.


1991. 03 cosas [03 things]. Cinco Casas. La Mancha.


1988. Esteoeste [Eastwest]. Autonomous Community of Madrid.


1984. Collective Altera. Castellana, 101. Madrid


1982. Solo Madrid-Arte Joven [Youth Art]. Casa del Reloj. Madrid.


 


PUBLIC WORK AND COLLECTIONS


1998-2015. Bronze edition work. Galería Capa Esculturas. Madrid-Brussels.


2003. Extension for Martín Chirino. ADM, Valencia.


1990. Carrying out work for sculptors. Eva Lootz. Capa Esculturas. Madrid.


1990. El Timón de Argón [The Argon Rudder]. Series of sculptures. Madrid.


1987. Designing children's toys. Gubern Casas. Barcelona.


1985. Dinosaurios. Series of sculptures. Icona. Avenida de San Luis. Madrid.


 


PUBLICATIONS



BOAgenda 89. Ediciones BOA. Special edition for the Department of Education. Directorate-General for Youth of the Autonomous Community of Madrid. Madrid. 1988. Legal Dep. M-33982-1987. Ana Vicente de Vera (design and production).


Diálogo de Séneca y Delfín [Dialogue of Seneca and Delphin]. In Luis Pérez-Mínguez Con·Secuencias. Municipal Arts Centre. Spanish Department of Education and Culture. Autonomous Community of Madrid. Madrid. 1997. Legal Dep. M-35424-1997.


Retrato de L.P.M. [Portrait of L.P.M.] In Luis Pérez-Mínguez Con·Secuencias. Municipal Arts Centre. Spanish Department of Education and Culture. Autonomous Community of Madrid. Madrid. 1997. Legal Dep. M-35424-1997.


Entre la realidad y el deseo [Between reality and desire]. In La Fábrica-Tf. Editores (eds). Biblioteca de Fotógrafos Madrileños [Library of Photographers of Madrid]: Luis Pérez-Mínguez. Madrid. 1999. ISBN: 84-95183-21-8.


Gusta tanto soñar [Dreaming is wonderful]. In S. Rojas (ed.). Retrospective of new authors of Spanish poetry, vol. 3 Ed. Jamais. Seville. 2001. ISBN: 84-95426-10-2.


En la ciudad desconocida [In the unknown city]. In Chiti Ayuso Dípticos-Pinturas. Galería Amparo Gámir, S.L. Madrid. 2003. Legal Dep. M-36721-2003.


 


TRAINING


1995. Advanced course in Museography and Exhibition Techniques. Advanced School of Architecture, Antonio Camuñas Foundation. Madrid.


2001. Gilding and Artistic Polychromy. First year of the Vocational Training Program Escuela de Arte. Seville.


2008. Internship consisting of collaborating on bronze sculpture restoration works for pieces in the Eduardo Capa Foundation Collection. Arganda del Rey, Madrid.


Works by Francisco Buendía

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Showing 1 - 7 of 7 items