In Greek philosophy, truth is understood as aletheia or «unhiding», that which is revealed without being fully shown. The exhibition «Nacer sombras» proposes a journey through a group of recent works by Raúl Díaz Reyes in which painting expands towards the spatial and the symbolic, inviting the viewer to cross a landscape of signs, rhythms and silences. Conceived as a space of transit, recollection and revelation, the exhibition vindicates the veiled, the indirect and the suggested in the face of the visual overexposure of contemporary society. In dialogue with Tanizaki's “The Praise of the Shadow”, the beauty of the penumbra, the opaque and the insinuated is defended against excessive clarity. The shadow creates depth, mystery and calm; art not only shows, it also suggests.

Initially trained as an engraver, Díaz Reyes has developed a practice that integrates traditional techniques and contemporary sensibilities. In his works, painting is understood as an intimate space of control and reflection where he investigates a non-normative calligraphy, a gesture that unites writing and form. Her body of work is composed of families of signs that reappear and transform: birds, flowers, trees, stars, towers or candles. These elements do not function as narrative images or as literal representations, but as refined symbols, close to hieroglyphics or emblems, which oscillate between geometric abstraction and the semi-figurative. The harmony sought in all the paintings adds a totemic, primitive and solemn component.

This vocabulary emerges from a process of fragmentation, addition and disorder of the pattern. Forms are repeated, interrupted or eroded, generating tensions between order and chance. Although the images may convey, at first glance, serenity or harmony, within them beat more complex associations. The bird, for example, appears as a symbol of fragility and transit; flowers and candles refer both to the natural and to the ritual and funerary. Calm and loss, beauty and mourning coexist without hierarchy, giving rise to an ambiguous and deeply poetic iconography, which intertwines the artist's life experience -his walks, his memories, his losses- with cultural references that cross geographies and eras, as they are universal (what is hidden in the unconscious is usually occupied by traumas, repressed desires or archetypes). The result is a symbolic garden in which each work acts as a sign, an apparition or a threshold.

- Javier Martín-Jiménez. Commissioner