Salvador Jiménez-Donaire

Year of Work (issue): 2019

Materials: Copperpoint and gesso on Fabriano paper (600 g)

Size: 30x30cm


Art Description

2019, Copperpoint and gesso on Fabriano paper (600 g), 30x30cm

Salvador Jiménez-Donaire

Born 1994, Seville, Spain

Salvador Jiménez-Donaire (Seville, 1994) is graduated in Fine Arts by the University of Seville (Best Academic Record Award), and holds a MA in Printmaking (Distinction) from Anglia Ruskin University, Cambridge (UK) and a MA in Research and Creation in Fine Arts (Best Academic Record) from the Complutense University of Madrid (Spain). In 2020 he is awarded a predoctoral fellowship at the University of Seville, where he is currently developing his research on the acceleration processes that shape contemporary societies, the densification of the iconosphere and the time-perception binomial.

Jiménez-Donaire has been selected for solo shows in European institutions such as Colegio de España in Paris, (France, 2021); Tomás y Valiente Art Center in Madrid (Spain, 2020); Cuenca Cathedral (Spain, 2019); St Peter’s Church, Cambridge (UK, 2019) -with the support of Kettle’s Yard and The Churches Conservation Trust- and the Antonio Gala Foundation, Córdoba (Spain, 2018). He has participated in international group exhibitions such as the IV Rassegna Internazionale Biennale Sul Libro d’Artista DARS, at the Museo Etnografico in Udine (Italy, 2018-2019); Masters Salon Painting KoMASK 2018, at the Royal Academy of Fine Arts in Antwerp (Belgium, 2018); and There Is No Wealth But Life, at the Ruskin Gallery, Cambridge (UK, 2019) -organized by Cambridge Sustainability Residency.

In 2019 he won first prize at the XXV European Visual Arts Contest (CICUS, Seville). He has been selected in art residencies such as the Antonio Gala Foundation for young creators, Córdoba (Spain); Caravanserai Residency, Cambridge (UK); and the historic Residencia de Estudiantes in Madrid (Spain).

Jiménez-Donaire examines slowness and repetition as creative strategies to prolong perceptual experience within a sociocultural context that compresses time (by acceleration) and automates the gaze (by saturation).
Employing a reductive mark-making process, his practice explores notions of patience, continuity and duration –and how they affect both the physical and mental process of drawing and painting. The images resulted from this long working method intend to enable time for unhurried contemplation and cognitive rest.

At a formal level, the work crystallizes by tension between iteration and mutability, the systematic and the manual, perseverance and exhaustion, boredom and excitement, the monotonous and the hypnotic: a shaken quietude.