“The genuine Gothic style had always been interesting to him, both for the progress it had made in the recovery of realism in plastic representations, and for the luminosity that distinguished it in its architectural manifestations. He enjoyed the nineteenth-century Gothic novel and poetry, the fantastic tale of spectres, ghosts and monsters that appeared in nocturnal scenes and funeral or solitary atmospheres, masking crimes or giving prominence to atavistic terrors and ruthless characters. He also had his own obsessions, his own nightmares, his own inclination for some themes and not others. From a masterful stroke, his hand sprouted astonishing creatures, which could form part of a powerful and evocative bestiary. Fernando Viscasillas learned to be irreverent while retaining good taste, irony, a sense of humour and even a cynicism while keeping his distance like Diogenes with Alexander. He coincided with a time when groundbreaking proposals were allowed and he took advantage of this to create his own language and explore colour. His mastery of drawing and painting was prodigious, but he continued to progress and conquered volume, the naturalness of gesture. He moved towards light: he discovered photography without considering himself a photographer. But could there be a more genuinely Gothic discipline? He also mastered it, experimented with it and transcended it, forcing it to overcome the limitations of reality. He became a surrealist.With digital tools he found the resources to handle balances at will, to superimpose planes, to cut out figures and incorporate the beasts that sprang from his imagination to create his own mythological universe, his inner world.” Emilio Pallarés Geographer, History teacher and international jurist
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SATIE GOTHIC
“El genuino estilo gótico siempre le había resultado interesante, tanto por el avance que había supuesto para la recuperación del realismo en las representaciones plásticas, como por la luminosidad que lo distinguía en sus manifestaciones arquitectónicas. Disfrutaba con la novela y la poesía gótica del siglo XIX, con el relato fantástico de espectros, fantasmas y monstruos que aparecían en escenas nocturnas y ambientes fúnebres o solitarios, enmascarando crímenes o concediendo protagonismo a terrores atávicos y personajes despiadados. También tenía sus propias obsesiones, sus pesadillas, su propia inclinación por unos temas y no otros. A partir de un trazo magistral, de su mano brotaban criaturas asombrosas, que podrían integrar un bestiario poderoso y evocador. Fernando Viscasillas aprendió a ser irreverente conservando el buen gusto, la ironía, el sentido del humor y hasta un cinismo manteniendo la distancia como Diógenes con Alejandro. Coincidió en un momento en que se permitían las propuestas rompedoras y aprovechó para crear su lenguaje y explorar el color. Su dominio del dibujo y la pintura resultaba prodigioso, pero siguió progresando y conquistó el volumen, la naturalidad del gesto. Avanzó hacia la luz: descubrió la fotografía sin considerarse fotógrafo. ¿Pero puede haber una disciplina más genuinamente gótica? También llegó a dominarla, a experimentar con ella y a transcenderla, forzándola a superar las limitaciones de la realidad. Se convirtió en un surrealista. Con las herramientas digitales halló los recursos para manejar los balances a su antojo, para superponer planos, para recortar figuras e incorporar a las bestias que brotaban de su imaginación para crear su propio universo mitológico, su mundo interior.” Emilio Pallarés Geógrafo, profesor de Historia e iusinternacionalista
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40 GOTHIC
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31 GOTHIC PELIQUEIRO
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32 GOTHIC PELIQUEIRO BLUE
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“GOTHIC - PARIS - QUARTIER LATIN”
Restaurant Polidor, Cortazar and Silvaner wine, Jarry, Pataphysics, Ubu......my friend Tomás Pérez Acosta lived in Paris as a young artist, regular customer of Latin Quartier brasseries and of Polidor.....but one bretched day Woody Allen landed with his group and.....now the restaurant Polidor is a tourist - infested selfies