I thought it would cost more to relate to the silence and solitude of the study, it has not been. Just messing with me first paint stains, has been almost as immediate infatuation is like a return to those areas for meditation, dialogue and creating more active, even those areas that believers call to prayer. They talk with my ten and I meditate the historical, the story is a individuu step. With the brushes can remove water feelings, psychic energy is renewed. These you see below are the first paintings after returning to the world in which I am made.

1. Pere Planells


2. I was born in the city of Ibiza, on 2 February 1950, and I graduated in
Fine Arts from the University of Barcelona. I was helping North
American artist Gordon Maca-relli. Film Studies at the School of
Barcelona Independent Film (Eixalà). As a result of these studies I
directed the documentary film of the time underground Catalan with
Francesc Juan titled Amen Romani. Then I apply the film in
classrooms, in fact, my first job was as a professor of cinema at the
Institut Pau Vila de Sabadell. I was Director of the Museum of
Contemporary Art of Ibiza in 1976, with Rafel Tur Costa and
Leopoldo Irriguible. I have been a teacher of drawing and Permanent
Professor of Drawing at various institutes and, in recent years, the
Institute Tres Turons in Arenys de Mar (Barcelona). PhD in Fine Arts
from the University of Barcelona with the thesis: Contributions on
theoretical and practical versatility, developing modular and location.
As a result of the study of modular forms I make inroads into the field
of sculpture, such as the compass, commissioned by the Marina Boix
business. Art is my passion, a passion which redevelop the desired
intensity.
pere.planells@gmail.com
http://www.pereplanells.com

3. Opus 1:
Recalling the sidewalks
of the Nile.
100 x 100 cm.
Acrylic and mixed media
on canvas.
Pere Planells 2015.

4. Opus 2:
Tribute to Pappus of Alexandria.
162 x 90 cm.
Acrylic and mixed media on canvas.
Pere Planells 2015.

5. Opus 3:
Quadric serie.
72 x 60 cm.
Acrylic and mixed media on canvas.
Pere Planells 2015.

6. Opus 4:
Mother! Father! Estic tan
sol com vosaltres.
90,5 x 90,5 cm.
Acrylic and mixed media on
cardboard.
Pere Planells 2015.

7. Opus 5:
¿Looking aura?.
55 x 45,5 cm.
Acrylic and mixed media on canvas.
Pere Planells 2015..

8. Meditations on the couple
Opus 6, Opus 7, Opus 8, Opus 9

9. Aquesta petita col·lecció composta per quatre obres sobre cartró pretén hi ha representat per mi, enfocar plàsticament i expressiva un tema en el que m'he submergit
d'una manera espontània, quasibé per necessitat. És com si el tema m'hagués trobat a mi i jo l'he desenvolupat tot barrejant uns contorns sintètics que referencien la
persona amb espais i textures bastits lliurement, emprant, fins hi tot, metodologies en part surrealistes i en part simbòliques i conceptuals. La reducció de materials
m'ha obligat a forçar textures tot emprant tècniques derivades del gravat l'encolatge, etc.

10. Opus 6:
Meditations on the couple 1.
90.5 x 90.5 cm.
Acrylic and mixed media on
cardboard.
Pere Planells 2015.

11. Opus 7:
Meditations on the couple 2.
90.5 x 90.5 cm.
Acrylic and mixed media on
cardboard.
Pere Planells 2015.

12. Opus 8:
Meditations on the couple 3
90.5 x 90.5 cm.
Acrylic and mixed media on
cardboard.
Pere Planells 2015.

13. Opus 9:
Meditations on the couple 4.
90.5 x 90.5 cm.
Acrylic and mixed media on
cardboard.
Pere Planells 2015.

14. Geo-sensitivities
Opus 10, Opus 11, Opus 12, Opus 13, Opus 14, Opus 15, Opus 16, Opus 17.

15. This small collection on paper aims to deal with an expression reductive concepts of Euclidean geometry is not decoupled from the perspective of sensuality temporary
space of everyday life. Hence the title of the collection based, instead of talking about geometry talking about geo-sensitivity. Each of these works, re-locates all the
basic concepts of geometry stood in contemplation of these as if they were landscapes in which imagination blooms again. They all work as tributes to fundamental
concepts inherited from the Greeks.

16. Opus 10:
Geo-sensitive 1.
42 x 52 cm. Acrylic and mixed media on paper filter.
Pere Planells 2015.

17. Opus 11 :
Geo-sensitive 2.
42 x 52 cm. Acrylic and mixed media on paper filter.
Pere Planells 2015.

18. Opus 12 :
Geo-sensitive 3.
42 x 52 cm. Acrylic and mixed media on paper filter.
Pere Planells 2015.

19. Opus 13 :
Geo-sensitive 4.
42 x 52 cm. Acrylic and mixed media on paper filter.
Pere Planells 2015.

20. Opus 14 :
Geo-sensitive 5.
42 x 52 cm. Acrylic and mixed media on paper filter.
Pere Planells 2015.

21. Opus 15 :
Geo-sensitive 6.
42 x 52 cm. Acrylic and mixed media on paper filter.
Pere Planells 2015.

22. Opus 16 :
Geo-sensitive 7.
42 x 52 cm. Acrylic and mixed media on paper filter.
Pere Planells 2015.

23. Opus 17 :
Geo-sensitive 8.
42 x 52 cm. Acrylic and mixed media on paper filter.
Pere Planells 2015.

24. Projects
Wallpapering and In search of freedom

25. TO WALLPAPERING
WALLPAPERING
On the wall we can act and in fact it operates. Wallpaper, as I conceived
intervention is on the wall, understood as support. A building or a house with
walls middle takes a different dimension. The perception is enhanced, which
is offered to integrate the building if the intervention of visual art. An
intervention on the wall is a claim of cultural heritage and this claim makes
the building take on a new dimension, a different dimension. The
pedestrians, the ices and visitors are aesthetically questioned who were
calls for a new service, until eventually this intervention is assimilated as a
normal, integrated community. The walls may have speech and the ability to
bring art to the street. Indeed, wallpaper is street art. Without being graffiti,
street art is. Wallpaper is perhaps more akin involved with buildings and
monuments of Christ with graffiti Anyway all these types of expression have
in common the desire to bring this to people without the intermediation of the
museum or gallery without intermediation of any kind.

26. LOOKING FOR FREEDOM
What you have two images, is a model in cardboard timber that will later
evolve to finish corten iron. The final sculpture will consist of two cubes
sectioned two meters long, sustained on a column regular prismatic triangular
base, the height of which is equal to the height of two superimposed cubes as
you see in the image of the left.
This is a project that combines both aesthetic concepts.
The first is purely formal and geometric hexàedres consists of two cubes
or truncated, one double and one single way. Sections are equilateral
triangles third side side cubes. The two cubes are connected to these
sections and the ground, either directly or through a prismatic column and
regular basis which is the same triangular cubes.
They are dynamic and dense forms that contain a large force and are
aesthetically emotional (emotional continents).
The other is a more figurative, symbolic if you want. The hands represent
individual or collective longing, their work / jobs. The human longings and
dreams are different, perhaps for this reason I chose to assign a
rotational positions hands position in the set. If we were adding cubes with
their hands that they would see corresponding create a sort of chain
reminiscent of DNA without being a helical shape The set is highly
balanced, viewing it from any angle similar to it away. The energy of the
hands is projected towards the infinite sky.
Hands stick out of the sides of the dense but dynamic cubes. These are
the hands that put us in touch with the world, expressing our wishes and
desires of the humanity, this is symbolic that we wanted to set aside a
project, the purpose of which, expression is also freedom of research.

27. I am working regularly in two sessions in my studio Carrer d'Avall, 75. 08350 Arenys de Mar (Barcelona). To visit the study should specify the date and time via email.
The work included in this electronic filing is opened recently this year. For prices of the works must specifically request it by email.
pere.planells@gmail.com
http://www.pereplanells.com