Carlos Llavata Gascon (1964)
Lives and work in Valencia, Spain
Plastic artist, In 1983 started art education at the ceramics school of Manises, after he moves to San Francisco and could`nt attend to SFAI (no money), he backs to Spain, and he finished Fine Arts university in Valencia, and later on he graduates at The Gerrit Rietveld Academie of Amsterdam at 2001. He has been in many colectives shows events (mostly action art) 6 solo shows under Carlos Llavata´s name.
He is cooperating with some galleries and projects around the world, Mirta Demare (ARCO 2010) Rotterdam, Art Amsterdam 2011 (Artkitchen Gallery), "Splattered" Golden Threat Gallery Belfast, Sign in Groningen, Zé dos Bois, Lisbon, La Pieza, Madrid, Artpotheek Brussels, Lost Generation Space, Kuala Lumpur, MY, Pensart Madrid, ES
by Nelo Vilar
Engraver-expeditious-of-action, pop icon.
I seriously asked myself why Carlos Llavata causes explosions, why the firecrackers, why the unpleasant guns. I began to investigate in his materials, starting in the beginning, the monotypes and the ceramics, and then I understood everything to it: Carlos is,"simply", a engraver(recorder), well that an Recorder-expeditious one. To the model of engrave of unique unit that represents the monotype to only adds "a small" element: the chance. They are the shots, the explosions,those that burden (record or engrave) his silhouette on a fabric or a wall. Or those that leave their printing on a clay tower, or on a perfectly modeled vase made a live. The forms that remains are amazing, but it is the process which seems to interest before anything. In this case, CarlosLlavata would be an Recorder-expeditious-of-action, as Jackson Pollock or Georges Mathieu, they were painters-of-action.
For a long time I have been dividing to the artists between whom they produce useful work for an impossible infantile program of television and those that don't. It is not about childish, of triviality or simpleness, but of the "world" that there is back the work of a determined author, the naturalness, the talent and humor as opposed to the solemnity and the religious bigotry of others. I talk about, of course, to a chimerical infantile program, not necessarily tolerated to minors, in whom outside possible the political, erotic work, etc. Robert Fillliou, for example, is brilliant applied to the children. Beuys not as much. Nor possibly Tàpies. Brossa yes. And Bartholome Ferrando. And good part of the Fluxus, some surrealistas... Dadá, of course, and the first futurism... In this hypothetical ideal program that would changethe life of children and adults, I see like a in habitual section to Carlos Llavata. Imagine a fellow, a personage who goes that way exploding everything, that it has piano that instead of musical notes it activates fireworks (and that in the end explodes), that bursts things that fly, that runs, daily things (since the Valencian children in the insuffrable Fallas of València); that one stains, that is singed like Mortadelo. That pop icon, I think, would have astonished to the surrealistas, would have made lose the composure to the solemn ones, would have made run to the hieratic ones in front of a Napolitan cracker. I vote by the humorous, ingenious, surprising Llavata, a little naíf, that sends us the wonderful thing, to the fantastic thing, to the absurd...
© Nelo Vilar 2007, Excerpt from:
Catalogue, Marte et Arte, Exhibition at espacio grupo forja, 2007, Valencia, Spain.