Throughout his career Pep Trujillo has followed a course based solely on painting. Within that course he has focused on figurative, representative styles. He trained with Manolo Lima and Carlos Tonelli and in the early eighties, like many artists of his generation, he experimented with bad painting and abstract expressionism before finding a style in which he felt really true to himself. The main body of his work is figurative.
What interests him when producing a picture is the essential. In these works, produced in 1988 and 1999 and shown in 1990 at the Maeght Gallery in Barcelona, he conveys a mental landscape with a circle as its core element. Closed in on itself, it represents unity, the absolute and perfection. It is a symbol of the heavens in regard to the earth, of the spiritual in regard to the material. He tackles painting in the same way. Sometimes he leaves the process of construction visible so that viewers know what constructive elements are involved in the composition. He does not seek to produce a realistic, objective, impartial depiction of the real world. There is verisimilitude in his canvases and sketches on paper, but there is always an interpretation of the visible. What is real is changed by the eye of the painter.
Over the course of his career he has exhibited at numerous galleries, including the Maeght in Barcelona and the Pelaires in Palma. His works have also formed part of collections such as that of Ernesto Ventós, who included one in his exhibition 'Olors' ['Odours'] at the Palacio de la Virreina venue in Barcelona in 2001.
Throughout his career Pep Trujillo has followed a course based solely on painting. Within that course he has focused on figurative, representative styles. He trained with Manolo Lima and Carlos Tonelli and in the early eighties, like many artists of his generation, he experimented with bad painting and abstract expressionism before finding a style in which he felt really true to himself. The main body of his work is figurative.
What interests him when producing a picture is the essential. In these works, produced in 1988 and 1999 and shown in 1990 at the Maeght Gallery in Barcelona, he conveys a mental landscape with a circle as its core element. Closed in on itself, it represents unity, the absolute and perfection. It is a symbol of the heavens in regard to the earth, of the spiritual in regard to the material. He tackles painting in the same way. Sometimes he leaves the process of construction visible so that viewers know what constructive elements are involved in the composition. He does not seek to produce a realistic, objective, impartial depiction of the real world. There is verisimilitude in his canvases and sketches on paper, but there is always an interpretation of the visible. What is real is changed by the eye of the painter.
Over the course of his career he has exhibited at numerous galleries, including the Maeght in Barcelona and the Pelaires in Palma. His works have also formed part of collections such as that of Ernesto Ventós, who included one in his exhibition 'Olors' ['Odours'] at the Palacio de la Virreina venue in Barcelona in 2001.