Santiago Ydáñez (Jaén -1967), presents his first individual exhibition at the Fundación Canaria para el Desarrollo de la Pintura (FCDP). In this exhibition we can go through various stages, for example nostalgic pieces related to the idea of cold, forged after his years in Berlin.

He lived there for 20 years, always alternating Berlin with the south of Spain, Puente de Génave (Jaén), Granada and Málaga. Only in the last years of his stay in Germany did works of his experiences there begin to appear. Many images, arising from years of carrying books, obtained in the weekend markets. In this exhibition we can find two pieces of that imaginary: the parakeet and the girl who jumps on a trampoline, where he has used tertiary tones.

Poetics of Germanic rise and fall, the continuation focuses on other recurring lines in his work, such as childhood in different lines: the wild, mischievous and also mysterious, an important engine in his creation. The passage of time turns these images of children into a kind of vanitas. The floral world is also linked to maternal childhood, together with his love for art history. On the baroque he has worked a lot, especially relating it to romanticism.

The first collection where he contrasted them emphatically, was the one he made in 2006 at the Fernando Santos Gallery in Porto, called Foz. In that sense, we have two pieces here: The Snowy Landscape and Caravaggio’s version of the Deposition of Christ. This immersion in the Baroque was accentuated after he passed through the Academy of Spain in Rome, a year of authentic enjoyment.

There are also pieces that we can call “rare” within his production; one is the dialogue with Thomas Hirschhorn and the other is Battleship Maine, which is part of a project that has not been shown or concluded called “The day before the tragedy”, curated by Paco Barragán. The ancestral world with its rural masquerades and its animal facility close the show.