The work of José Ramón Amondarain ( b. 1964, San Sebastián, Spain) is an incision through the empiric field of painting which unfolds throught various medium such as digital prints, paintings, temperas, sculptures or installations. As David Joselit expressed in his essay Painting beside itself : “… once an object enters a network, it can never be fully stilled, but only subjected to different material states and speeds of circulation ranging from geologically slow (cold storage) to the infinitely fast.”
This oscillation between different speeds and states is the starting point of Amondarain’s work which constantly turns around and explores painting as a polymorph object of investigation.
His work has been shown extensively in Spain and belongs to collections such as: Museo Nacional Centro de Arte Reina Sofía, Kubo Kutxa, Academia de España en Roma (Rome, Italy), Bonnat Museum (Bayonne, France), Grupo Endesa, Peter Stuyvesant Foundation (Netherlands), Banco de España, Unicaja, Caja Madrid, La Caixa, Caja Burgos, Fundación Marcelino Botín, ARTIUM museum (Victoria, Spain), Unión Fenosa (Madrid, Spain).
