Pascuals most recent paintings are a continuation of his ambitious project of investigation into the visual language of abstraction. In these works he strives to create a language that will not reference any specific ideas or psychological states; instead the meaning transcends and is embodied in ones experience of it.
Pascuals refined work is characterized by centralized arrangements of extremely simple geometric forms on generally monochromatic grounds. There is a duality in the visual dialogue of lightness and darkness, but what is dynamic about these paintings is not that they may symbolize the rhythms of the sun and moon, or the interplay of male and female forces, or the interfusion of divinity and humanity. What is active and alive in the paintings Pascual makes is that they are so silent.
Pascuals images are almost readable symbols. They have a clarity of design like that of a national flag, and the interactions of geometric designs offer a lucid visual drama: two yellow circles partially conjoin, and the space occupied by both circles has a higher-keyed brightness, for example. The ground is rich in these paintings, with the watery markings and textures of its application, and never seems static. As objects, Pascuals paintings are humanized by bearing the marks of their making ˆ they are art objects, though, and so they are designed to elude us, somewhat.
Pascuals work has been the subject of a large number of solo exhibitions and critical essays, and is regularly exhibited at the international art fairs. His work was recently the subject of a major exhibition in a Renaissance palace in his hometown of Zaragoza. Pascual moved to the United States in 1992 and resides in Washington since 1999.
Imago Mundi marks Pascuals first solo show in Washington, DC. The exhibition is accompanied by a brochure with an essay by J.W.Mahoney.
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