Pello Irazu (1963) - Carpeta n.º 17. Tres grabados sin título

In 1990, at twenty-six, Pello Irazu was selected for the Aperto section of the 44th Venice Biennale and he carried a Fulbright scholarship in his pocket that took him to New York, where he lived for eight years. A year later he held a solo show at John Weber Gallery, the gallery of the American minimalist and conceptual artists. Irazu was born in Andoain, Gipuzkoa, in 1963, and earned a Fine Arts degree from the University of the Basque Country in 1986, in the sculpture specialization. He belongs to the generation that renewed Basque sculpture in the eighties, the one that inherited from Oteiza and Chillida and chose not to imitate them. He is, in my view, the most intelligent of that group. He works with wood, plywood, adhesive tape, paint and photography, and his pieces always seem half-assembled: planes resting on one another, assemblies that reveal how they are made, painted walls that turn the room into part of the work. The prizes came soon. First prize for sculpture at the Vitoria-Gasteiz Biennial in 1984 and at Bizkaiko Artea in 1987; in 1988, an honor at the International Drawing Triennial of the Kunsthalle of Nuremberg and the ICARO prize for the most outstanding young artist in Spain. That same year he exhibited at Fundació Joan Miró and at Soledad Lorenzo’s gallery. Upon returning from New York, in 1998, he settled in Bilbao. Artium dedicated Fragmentos y durmientes to him in 2003; the Guggenheim Bilbao showed in 2012 his installation Life Forms 304, which is part of its collection, and the Sala Alcalá 31 in Madrid brought together in 2015, under the title El muro incierto, more than twenty years of installations. In 2020 he received the Gure Artea award for artistic career, awarded by the Basque Government. His work is in the Reina Sofía Museum and the BBVA Collection. These three prints, published by Benveniste Contemporary, translate to paper the method of his sculpture. Each sheet overlays two or three color planes cut, blue and ochre, red and sand, yellow and burgundy, and on top an scaffolding of black strokes that tie them together as if they were pieces of a model. The red-and-sand one, with its horizontal cross, is the most striking of the three. Pello Irazu (Andoain, Gipuzkoa, 1963) Copy Title of the work Folder No. 17. Three untitled prints [VERIFY: titles in the edition justification] Copy Technique Color intaglio, several flat inks with visible wood grain [VERIFY: woodcut], on hand-cut 350 g Hahnemühle paper Copy Year 2007 (folder) · signed in 2008 Copy Edition Print 52/55. Edition of 55 numbered copies Copy Signature Signed in pencil “Pello Irazu 08” in the lower right corner and numbered 52/55 in the lower left of each sheet Copy Sheet size 38 × 32 cm (15 × 12 5/8 in), height × width, each sheet

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