Translated automatically from Italian ·
It is the age in which human beings will realize that imperfection is an added value.
I'm Juan Redruello, born in Buenos Aires in 1973. I live and work in Piedmont. I focus on abstract painting and visual experimentation, exploring different materials, techniques, and languages.
I've never had a single way of painting. There are periods in which I'm interested in complex images, full of marks and overlapping, and others in which I feel the need to work with a few shapes and colors. What I'm looking for, however, is always the same thing: something that moves me. I like worn surfaces, peeling walls, rust, the marks left by an almost dry brush. Sometimes I find a scratched and partially erased image more beautiful than the original. Not because it's poorly done, but because in that alteration I see something that wasn't there before. When I paint, I don't always know where I'll end up. Sometimes I start with a precise idea, other times I simply begin to smudge the surface. I work, erase, overlap. Sometimes what I had imagined disappears completely and in its place something is born that excites me even more. I've always been attracted to risk and adrenaline. It's a feeling I've sought for years in sports and that, in a different way, I find in painting. I like that uncertainty, not knowing exactly what's going to happen. Even in front of a canvas, I can feel like I'm about to ruin everything. Sometimes I keep working, not knowing if what I'm doing will work. Then, suddenly, something appears. I look at it and recognize it. That's when the painting truly begins to exist for me.
Acrilico su tela · 2026 · 70 × 104 cm
This painting was inspired by electronic music, especially its low frequencies, the deep, powerful sound of a speaker. I'm fascinated by the contrast between the physical strength of the bass and the melancholy I often find in minor-key melodies. A kind of nostalgia, but not necessarily sadness. It's a feeling I really enjoy and that, in some way, I tried to convey in this painting.
ACRYLICS ON CANVAS · 2016 · 70X54 CM
Green Noise was born from an instinctive process, made of layering, erasure, and material gestures. I was interested in creating a living surface, where green becomes energy and movement. The title evokes this sensation of vibration, as if the color were producing an internal noise.
acrilico su tela · 2026 · 80x08 cm
In this painting, I was interested in working with a few colors and fairly basic shapes. The light blue crosses the surface, while the darker lines seem to interrupt it, almost like interference. I like the contrast between the empty spaces and those where the material accumulates, between what remains visible and what seems almost erased. A kind of slow interference beneath the surface.
arilico su carta · 2020 · 42x30 cm
In this work, I was interested in the idea of friction, of something tensed to the point of heating up, almost igniting. The contrast between yellow, pink, red, and black arises precisely from this sensation of friction, as if the colors were colliding and generating energy. More than representing something, I wanted to convey a sense of tension, a point where the surface seems on the verge of igniting.
acrylics on paper · 2020 · 42x30 cm
I've always loved that feeling you get when you're walking in a forest and the sun shines through the trees. You only need to move for a moment and everything changes: first you see it full, strong, almost blinding, then it disappears behind a tree trunk, then it reappears again. This is exactly what I had in mind: a birch forest, the pale trunks, and that light that enters your eyes and stays with you. What fascinates me most is what remains afterward, when you lower your gaze or close your eyes and for a few seconds you continue to see that trace, that sort of suspended image. The title Afterimage comes from there. I was interested in trying to convey that sensation on paper more than the forest itself: the light that passes through you, shifts, lingers for a moment, and then slowly fades.
mixed media on paper · 2015 · 42x30 cm
Gabi is a portrait born from my digital work. I wanted to take it off the screen, printing it on paper and applying it to a wooden support, then continuing to work on it with acrylics. I'm interested in this transition, when a digital image becomes something physical and I can pick it up, modify it, and see where it takes me.
mixed media on tla · 2015 · 100x100
1973, Buenos Aires, Argentina · Lives and works in Piedmont, Italy
I was born in Buenos Aires, Argentina, in 1973. I grew up in a family where art and creativity were quite prominent. My mother and grandfather painted, my grandmother wrote, and my maternal grandfather was a watchmaker and inventor.
I've always drawn, but I began to devote myself seriously to painting in the late 1990s, experimenting from the start with a wide variety of materials, techniques, and images.
In the early 2000s, I lived in Germany, where in 2002 I exhibited at the Reinbek City Library. During that period, I began working with photography and digital graphics, often combining them with painting.
I subsequently lived for several years in Cusco, Peru, where in 2003 I exhibited at the Museum of Contemporary Art. Upon returning to Italy, I continued to paint and exhibit, also participating in Paratissima in Turin in 2013 and holding other solo exhibitions.
For several years, I tried to make painting my main activity. It didn't go exactly as I'd hoped, and at a certain point I stopped painting, dedicating myself primarily to electronic music.
In 2026, I resumed painting regularly. After these years of pause, I found myself with a wealth of ideas and a desire to experiment that I hadn't felt in a long time.
Today, I work primarily with abstraction, color, and texture, without feeling the need to remain tied to a single style.
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