Born and raised in Tenerife, Canary Islands, Javier Bernal has spent his days moving to different cities on the Iberian Peninsula including Madrid, Granada, El Puerto de Santa Maria up to Liverpool (UK). At 18, he started his university in Madrid to study fine arts, graduating in Granada. Then he begins his discovery from the arts and his research into the pictorial world and his relationship with society. The period spent in Madrid is the most difficult part for Javier, because he could not comply with the institutions, the teaching that did not cover all the topics of interest he wanted, the hostility and inhumanity of the Grandes cities. He decided, therefore, to continue his studies in Granada, where the social environment was less hostile and life in general cheaper. There he started to get involved in the philosophy of art and he painted in a deeper way, inspired by Michel Maffesoli, Nietzsche, Hermann Hesse, Kandinsky, etc. Javier has always tried to remove the symbolism from his works, trying to assimilate the painting in an anecdotal way, and as a language that does not need to rely on any conceptualism. The painting must have value as it is, and not as what one wants to represent or express, art moves away from the expression of man, it is not a rapture of happiness or anger that is reflected in the paintings, but a language that respects a code of compositions and forms on pictorial identity as such, giving the plane and the stain a personality, which functions as its own element, and without the need of the rest of the elements that surround it, so that in a symphony the orchestra represents the notes with an order, in the painting that order exists in the same way.
Finally, during all these years of artistic training, Javier comes to understand the meaning of painting beyond what is to represent the reality assumed, and believes that the painting must have value like painting itself, and not as a representation of reality, even if they have some representations of reality that can have a similar pictorial value, presume that there is control of the artist’s pictorial language. That is, Monet’s water lilies are a representation of reality, but with that particular language of Monet and those traits that are characterized by having their own individual value. With the images of William Turner, it is exactly the same, Turnner not limited to copying reality, but also tries to capture an atmosphere, and represent with pictorial value. And if we go beyond Turner, we can see Mark Rothko, with these spots of color, full of depth, that seem landscapes. In conclusion, it does not mean that realism without value, many great masters of the past have been limited to painting reality, but with a pictorial value, which I take to become teachers who were and will be post-mortem.