TWO HANDS: ART POVERA VERSUS ART BRUT

Martí Rom and Matt Lamb or Matt Lamb and Martí Rom are two artists in a globalized world in opposite places across the Atlantic who move in the difficult art world surroundings and at the same time are friends. They have painted works of art together and have built works of art in three dimensions in complete agreement. The result of this is an explosion of good sense and vehemence in a hefty dose. They both represent the spirit of art brut, black art, primitive art looking back to discover how to go out from the bottom of the cave and see the light of the XXI century either metal or wax but definitely light.

MATT LAMB- EXPRESSIONIST HAND

Expressionist by caste, he began painting late in practice, as well as Henry Rousseau did, but it was ticking in his neurones in his daily conscience. Restleness, this force impossible to stop in anxious people, brought Lamb nearer to the reality of the strange logic of painting. Rousseau shares a freshness which no other accademic has, a frenzied, brutal, captivating freedom sometimes lost by lack of canons.

They have been built all these by working. The results are crazy, boundless. As Martí Rom, they are bond by a visceral attraction for the land, the bowels, the man, the primitiveness which makes the man hasn’t excelled the man yet, or is it what makes it more human? In painting, this distinctive feaature enriches, provides with nuances the complex life of canvas and the different supports the author experiences. The art of the insane people or the creatures who inspired avant-garde are not indifferent and also take and filter them. Pure colours, as regards Miró in Pop Art or printing. Graphics with materials, textures, gestures. All of this shaping buildings to investigate or become versed in. Devices that are not unimportant and seem to go out of fashion but the essence never disappear. 

MARTÍ ROM-COLLAGE HAND

He was iniciated in the conceptual world with installations and Dadaist inheritance happenings and has been combining all these experiences with painting and basically with sculpture. His creations have a particular feature: collage. Martí Rom always goes to the search of the found object: chance as a creative force. When he found it or it founds him, he tries to redefine it inside the creative corpus or at least assemble it in such a way that neither Martí Rom speech nor the ‘brilliant’ recovered object loses the essence. The result is an ingeniuos understanding in most cases.

Likewise, behind and in front of Martí Rom works of art, you know by intuition the inheritance of a distinguished builder of shapes and joints of the XX century: Torres García, a personality which shattered and shatters our perception of reality. The inheritance, if we wanted to, we should have to search in cubism and its kaleidoscopic vision of the artistic existence or in Africanism, the primitive inheritance of the history of mankind. Martí Rom, or what is the same, sculpture and volume for the benefit of ‘recycling’, findings which accelerate art. Art with the feet on the ground, of wood and iron, belonging to the ground and always persuasive.