Llorenç Garrit


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About Llorenç

​Garrit, by your Side 

Since I have known Garrit to this day, I can say that what especially calls the a en on of both his person and his work is the impressive chameleon-like aspect that he displays.

It is said of the chameleon that it is a saurian rep le of the genus chamaeleon, to which is a ributed, among other quali es, the ability of changing colour according to the objects surrounding it. Applied to Garrit, I would say that the quality of changing style or concept can be a ributed to him according to ideas or inspi-ra on that, like real tongues of re, constantly surround and provoke him.

His trajectory and the variety of his plas c and ar s c produc on are truly ver ginous. A surprising fact if weappeal to his image of a slow, calm man without haste and of pondered gestures and studied expressions.

But Garrit is hungry, hungry to create, to innovate, to capture everything that boils in his head and beats in his soul; and when crea vity and commitment press him hard, the great metamorphosis begins. His eyes —although not protruding from the orbits like those of the chameleon— are also oriented at will in all direc-ons and independently from each other: anyone could tell that Garrit’s eyes can move 180 degrees on the horizontal axis and 90 degrees on the ver cal axis. The combina on of these two factors make the vision of our ar st reach almost 360 degrees.

It is as if Garrit enjoyed a double vision: one eye sees some images and the other one captures di erent ima-ges. These two images get to his brain independently, o ering him two di erent images of his surroundings and their possible strands or perspec ves. But rst he must see them. When one of his eyes locates the best idea, his brain sends an order to the other eye for it to quickly focus on the target. When he focuses the vision with his two eyes, the captured images are overlapped, and the vision now becomes binocular and hence the nal ar s c or pictorial work is born.

Despite his versa le vision, something else is needed if he wants to successfully overcome all the inspira onthat surrounds him in hundredths of seconds. It is not enough that each of his eyes can focus independentlywith a 360-degree visual eld. Chameleons are famous for their ability to camou age themselves with the environment. But Garrit is not one of those who hide or turn their backs, he faces the surroundings; he does not seek to disguise himself, but he simply wants to become the surroundings themselves.

Garrit thus becomes an open book of emo ons or, if you want, a constant vibra on of crea ve, human and emo onal energy that nally allows him as an ar st to side with people, cornering for a few instants the pic-torial genre based on the landscape that is usually very present in Santanyí’s plas c arts.

With By your side, Garrit declares and openly states that what really makes sense, what always remains and will never go out of date is the ac on or inclina on that is generated by being close to people. And he sums it up with a series of categorical, basic, essen al concepts: Freedom, Time, Howl, Pain (but I’m Strong), I exist, The Way, Future, Cry, Hopeful, Breathe... Because a person has the right to feel and be free. He needs me for him, and me from others to be spent with him; he needs to be able to scream with despair or joy; he needs to feel alive; he needs to know that he has a path and a future; he needs to cry and have hope; in short, he needs to breathe and have someone by his side.

Honestly, I have only two ques ons le to resolve regarding Garrit; the rst is the same one that is formulated today with the scien c researches on the chameleon:

Could Garrit’s le eye know what his right eye is doing when both are aiming at di erent ideas?

And the second one concerns himself and his ability to turn into and react to the surroundings. Indeed, it ishere where his secret is hidden. Because there is a Garrit we neither see nor know, only seen and known by himself. Most of the me, male chameleons change colour when they see another male, and in this case, when they look in the mirror.

But, how will Garrit look and what will he be able to become when he looks in the mirror?

Perhaps, he will not even know it un l he himself peeps into it.

Bertolt Brecht said that art is not a mirror held up to reality but a hammer with which to shape it.

I do not know how Garrit saw himself re ected or what he became the day he looked in the mirror to create, later, this collec on of acrylics. The truth is that he sided with the person.

Now I can: I can now imagine what noise was heard a er looking in the mirror.Kaboomph!!

Sebas à Agus Adrover 2017