In the evolution of his artistic practice, the progressive deconstruction of figurative elements led Ràfols-Casamada towards a highly personal type of abstraction that, although based on external references—such as the sea in this case—holds a complete visual autonomy. Works such as Mar rosada represent not so much the depiction of an exterior event—a marine landscape—or an interior one—an experience arising from that landscape—as a formal structure configured through color—with an intense chromatic field that needs no justification for its presence—which is the true protagonist of this work.
Albert Ràfols-Casamada Barcelona, 1923–2009 Ràfols-Casamada’s starting point is a square canvas, its background created with large brushstrokes applied with a degree of violence that is only diminished by the subtlety of the serene pink tone that seems to emerge from the canvas, full of chromatic nuances. On top of it, a yellowish line surrounds and strengthens the edges of the painting, whi le another divides it horizontally into two parts. As a result, the color—of an informalist nature—is subordinated to a structure with a clear geometrical intent.
What the viewer sees is not a representation but a pictorial event, which is why we could describe works such as this as "pure painting." The title and its reference to the sea are merely poetic pretexts that justify a pleasurable and intense exercise, namely that of spreading the acrylic paint across the surface of the painting to produce glazes that delicately modify the underlying layers of paint, creating a surface that is charged with lyricism.
Javier Maderuelo, en Catalog Museo de Arte Abstracto Español, Cuenca, Fundación Juan March, Madrid, 2016