On Miguel Piedro (Or; Why Bombast Sucks And Substance Reigns Supreme)

Bombast is easy.

For accuracy’s sake (and who ever thought accuracy would become something to strive for, rather than the lowest possible bar for entry) Collins English Dictionary defines bombast as…

“Trying to impress people by saying things that sound impressive but have little meaning”.

…although you may as well replace it with a picture of Donald Trump because, honestly, that’s what we were all thinking.

Art periodical The Jackdaw has a terrific section dedicated to the art world’s numerous, bombastic brain farts.

Containing some of the most unintentionally brilliant, hilarious, utter shit you ever did read, Artbollocks alternates between being an absolute hoot and utterly soul destroying as you realise it’s exactly what most people think the art world is.

It’s morbidly compelling stuff, but regardless; I’m supposed to be talking about the three incredibly handsome Miguel Piedros we just put in our main window, so lets pivot.

What isn’t easy, is creating work strong enough to stand on its own merit. To master your craft to a point where you can eschew the comfort and protection of bombast and razmataz because, simply, your work doesn’t need it.

It requires a special brand of quiet diligence; something that almost never gets the respect or admiration it deserves because it’s so unfashionable. To dedicate your life to a steady, incremental pursuit, rich with deep, authentic reward? Jog on, loser.

The point is: someone like Mo Farrah doesn’t just win the gold medal for crossing the finish line faster than everybody else. He wins it for every cold, dark, wet morning he forced himself out of bed, for every sacrifice, for every ounce of himself he’s put into that journey.

The public victories themselves represent less than 1% of time and effort invested. The real gold medals are won in the 99%+ of your time spent away from the public eye, doing the hardest miles of all. Working diligently, studiously, consistently without hiding behind hype and hyperbole.

I’m still not talking directly about Miguel Piedro. But bear with me.

The art of great painting is an almost zen-like commitment to time and patience. It’s not much of an allegorical leap to turn your thoughts to the natural world and to the hundreds, thousands of years it takes to establish. Systems of order, harmony and balance… deep rooted in an ebb and flow that doesn’t take days or weeks but centuries and millennia – some towering achievements, others marvels of subtlety, simplicity and perfection – and not one leaf or twig or blade of grass of it in place to paper over the cracks or hide deficiencies. There is no bombast or obfuscation in nature. Only the finely honed necessity, substance and permanence that age upon age of care and refinement can bring.

Sheltered to the west by the snow-capped mountains of Andorra and to the north by granite-strewn slopes, the foothills of the Eastern Pyrenees represent everything Miguel Piedro aspires to in his work.

From pine-clad peaks to glacial lakes, these indelible panoramas are a study in slow, patient evolution, not only geologically, but culturally too; this is a border territory, where the old traditions of France and Spain meet modern Catalonia. You’ll hear Catalan spoken in addition to French, Spanish and numerous local dialects in this place of transition and growth.

In every regard, Miguel Piedro’s subject is the perfect fit for the subtlety of his craft because ultimately, is about life itself and the harmony we strive for.

And in forgoing bombast in favour of deep, inextricable substance, he does it quite brilliantly.

Sublime New Work From Spanish Master Artist Miguel Piedro. Now available to view in our St.Katharine Docks gallery or online on our  Webstore. Get in touch via e-mail or on +44 (0)207 481 1199

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