Born in 1964 in Brussels, Belgium.
Postgraduate in 2000 by the Escola d’Art d’Olot, he started his artistic career as a sculptor and painter. All his work is tied to the idea of the human being, its future and relation with the environment that surrounds it. Ten years of work as an international agriculture engineer for ONU in diverse developing countries of Africa and America impregnate his artwork with both an overwhelming globality and existentialism. Nowadays, he lives in Catalonia near Barcelona.
In his artistic career he has obtained important recognitions such as the 14th BBVA Ricard Camí Painting Prize or the Jury Prize at the Festival d’Art Contemporain Citadelle de Namur, in Belgium. He has exhibited his work in various cities in Europe, America and Japan, and regularly participates in numerous international fairs. His paintings and sculptures are also part of important collections, both public and private.
“Petite Nature” places the viewer on the border between the concepts of landscape and territory, proposing new horizons in order to lead him to reflect on the relationship between boundaries and identity, between place and sense of belonging. Boundaries and borders acting as delimitation systems to interpret reality, to describe our relationship with nature and with the world in general. Models that are the mere reflection of the inability of man to embrace the infinite reality that surrounds him. Each artwork is a fragment of a dialogue between nature and a human being that identifies itself, is deeply rooted in the earth and at the same time pretends to appropriate it, control it, divide it, dominate it and limit it. Hence, the artist attends to the small, to the tiny and even to the invisible present in the natural world, subdued so many times by man; but it also refers to the French expression that is used to refer to the weakness and limits of the human being. To wander, to get lost, to drift and find himself “in no man’s land” in order to build from there a new territory, an interior landscape where to escape from the world of formal appearance is what Tintoré does in his paintings. To do so, he seeks through a complex network of images from the memory, from the dreams and from experienced reality, with which he is able to reconstruct landscapes that he can truly consider his own.
The conceptual content of Petit Nature corresponds to its aesthetic content, which is why it is closer to evocation than to figuration. Tintoré avoids the grandiloquent and reliable pictorial reproduction of the reality that surrounds us and intentionally seeks the detail and simplicity of a representation closer to the idea of a indeterminate
outline of the reality. A way to correspond to the Aristotelian principle of being in potentiality: everything is there, but it is barely intuited. The result of these reflections materializes in paintings where the space is synthesized
in an ambiguous space, tenuous, lacking in gravity, at the edge of the void but without ceasing to be present. Territories-landscape that tend to the abstraction, almost conceptual, although without forgetting to present evident, but subtle figurative referents: trees, stones, topographic annotations, anthropomorphic forms, diluted
The painting is presented as a concomitant mixture between the notions of abstraction and figuration. The viewer, as if it was a game, tries to continue recognizing the forms as if they were images. He is then trapped, lost in this search and ends up in the middle of an abstract space. Only his imagination, like contemplating the clouds, can guide him in unprecedented new readings of the artwork.