Work
Néstor Sanmiguel Diest
“Flame Box” (1999)
“Tercer Cuaderno De Dibujo (13/01/99)” (1999)
“Poco A Poco Hasta Que Todo Quedo A Oscuras” (1999)
among other works
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Néstor Sanmiguel Diest, “Flame Box”, 1999, black ballpoint pen on grainy paper, 21 x 29.9 cm © Courtesy of the Artist and carlier | gebauer Berlin/Madrid
Photo: © Staatliche Museen zu Berlin, Kupferstichkabinett / Dietmar Katz
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Néstor Sanmiguel Diest, “Tercer Cuaderno De Dibujo (13/01/99)”, from the series “Tijuana Beach”, 1999, ballpoint pen and brush in blue and black on frosted paper, 20.9 x 29.8 cm © Courtesy of the Artist and carlier | gebauer Berlin/Madrid
Photo: © Staatliche Museen zu Berlin, Kupferstichkabinett
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Néstor Sanmiguel Diest, “Poco A Poco Hasta Que Todo Quedo A Oscuras”, 1999, black ballpoint pen and black pencil on red and blue pre-printed (flat printing) textured paper, 20.9 x 29.6 cm © Courtesy of the Artist and carlier | gebauer Berlin/Madrid
Photo: © Staatliche Museen zu Berlin, Kupferstichkabinett / Dietmar Katz
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Néstor Sanmiguel Diest, “Hans Adam II Se Desmiente”, 1999, black pen on red and blue pre-printed (flat printing), textured paper, 20.9 x 29.6 cm © Courtesy of the Artist and carlier | gebauer Berlin/Madrid
Photo: © Staatliche Museen zu Berlin, Kupferstichkabinett
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Néstor Sanmiguel Diest, “La Fuga”, 1999, blue and red ballpoint pen, cyan and magenta colored pencil on preprinted, textured paper, 8.3 x 11.6 inches © Courtesy The Artist and carlier | gebauer Berlin/Madrid
Photo: © Staatliche Museen zu Berlin, Kupferstichkabinett / Dietmar Katz
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Néstor Sanmiguel Diest, “Un Balcon Del Viejo Palacio De Sutio”, 1999, typewriter, blue and black ballpoint pen, red and yellow fiber pen on preprinted, textured paper, 20.9 x 29.5 cm © Courtesy The Artist and carlier | gebauer Berlin/Madrid
Photo: © Staatliche Museen zu Berlin, Kupferstichkabinett / Dietmar Katz
The Spanish painter Néstor Sanmiguel Diest is represented in the Schering Stiftung Collection with a total of six palimpsest-like works on paper. Consisting of several sheets of paper that, in a final step, are covered with a coat of lacquer, they offer complex pictorial spaces merging characters, line configurations, and color gradations. Because of the use of a kind of protective coating, the drawings look like paintings.
In Flame Box (1999), which is exemplary for the artist’s drawing practice, a grid drawn in black ink meets wavy lines created with a stencil. This creates an optical oscillation that resembles a moiré effect and evokes the works by Carsten Nicolai. Black spots and thicker, diagonal strokes disrupt the grid, bringing the rigid structure into tension with painterly markings.
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Schering Stiftung
Unter den Linden 32-34
10117 Berlin
Telefon: +49.30.20 62 29 65
Email: info@scheringstiftung.de
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