I usually say that it is a pleasure to go to a museum with Reyna and see through his eyes things that would have escaped me or appreciations that I would never have discovered. Reyna speaks with extreme sensitivity about shape and color, consolidating the indivisibility of that neuralgic concept in his work. I propose my vision, but above all I apply the lived experiences to push the limits of the work.
Martín is not only a great observer, but he is also a recipient of new methodologies, characteristic not always usual in artists. We often talk about the importance of the technique that he handles perfectly, painting.

The initial proposal for this experience with Reyna is a path where the variety of destinations makes that a single exhibition has been produced in four different locations, separated by thousands of kilometers. To create this show we let ourselves be carried away by the idea of paper as an object, its malleability and the infinite possibilities of seeing the painting, marking its speeds, curves and directions, almost with the intention of adding volume to a primarily two-dimensional work. We have talked about the rhythms, breaks, colorful and other desaturated moments and life itself, especially in these days full of so many conflicting emotions that inevitably merge into the colors of the paper.

The sinuosity of his stroke on the paper inspires the need to physically incorporate these curves into the exhibition space. The paper as support becomes an accomplice of the artist’s intentions, leaving flat predictability to one side, granting an objectual profile and a contribution to the observer’s experience.

We talked about many inspirations: Serra, Graham, among others; artists who led us to understand that we can not only observe the work but rather be within it, being overcame by its enormity, making the viewer participate so that he finds his own rhythm within the painting. The observer will then be in permanent transit while remaining in the room.

An almost heroic experimental act by an artist who fearlessly raises the need to get out of the wall, a great ally in his career. His proposal is on the way to adding volume to color and continuing to conquer spatiality, having infinite new possibilities for his own universe.

Color in transit speaks about Martín Reyna’s work and career, but above all, about the unexplored axis that he dares to traverse to overwhelm us with a mass of colors and landscapes. The works even include fragments of weather effects, to which Martín serves his work as a necessary part of a whole between artist and nature.