Fernando Martín Godoy
Painter. His main subject is urban scenes, although in recent years his work has opened up to include portrait painting and other areas that aren’t as easy to classify, somewhere between interior painting, landscape painting and still life. A combination of intuition and geometry, his work uses photography to carry out pictorial research into reality, which he then interprets as a journey from form to depth, with light as the protagonist and narrator. His painting constantly seeks a synthesis of different forms and draws from many sources, including classical painting (especially the Italian Renaissance and, above all, Spanish and Italian baroque), historical figurative and abstract avant-gardes, art from faraway cultures, contemporary painting, photography, architecture, film, design and digital images.
Fernando Martín Godoy
Vive y trabaja en/Lives and works in: Madrid.
Licenciado en Bellas Artes, Universidad Complutense de Madrid.
Exposiciones Individuales (Selección)/Selected Solo Exhibitions
Capítulo, Espacio para el Arte Caja Madrid, Zaragoza.
Los días blancos, Galería Utopia Parkway, Madrid.
Trato, Centro de Arte Joven, Comunidad de Madrid.
La línea, Sala CAI Luzán, Caja Inmaculada, Zaragoza.
Golpe de sol, Galería Siboney, Santander.
Sebastopol, Galería Pepe Rebollo, Zaragoza.
Humo, Galería de Arte Utopía Parkway, Madrid.
Rapto, Torreón Fortea, Ayuntamiento de Zaragoza, Zaragoza.
El silencio del escenario, Galería Siboney, Santander.
Galería Pepe Rebollo, Zaragoza.
Interior Exterior, Galería de Arte Utopía Parkway, Madrid.
Galería Artificial, Madrid.
Exposiciones Colectivas (Selección)/Selected Group Exhibitions
How to philosophize with a hammer, White Box, New York.
Aporías, Colegio de Arquitectos de Aragón, Palacio de La Lonja, Zaragoza; Palazzo Re Enzo, Bologne.
Tintin, 25 miradas, Galería José R. Ortega, Madrid.
ARCO’10, stand Galería Siboney, Madrid.
Todo disfraz, Espacio OTR, Madrid.
La frontera de lo visible, Galería Utopia Parkway, Madrid.
ARCO 09, Galería Siboney (Santander), Madrid.
Vistas de Zaragoza. Pinturas de la modernidad, Centro de Historia, Zaragoza.
ARCO 08, Galería Siboney (Santander), Madrid.
La pintura en los tiempos del arte. Veinte pintores españoles para el siglo XXI, Baluarte, Pamplona.
Juego de arquitecturas, Galería Guillermo de Osma, Madrid.
Actividades Académicas Relacionadas/Academic Related Activities
Painting workshop, School of Visual Arts, New York.
Premios y Becas (Selección)/Selected Awards and Grants
Certamen Nacional de Pintura Parlamento de La Rioja, Logroño. (Primera Medalla de Honor y Premio adquisición/Medal of Honour and acquisition award)
Bienal de Artes Plásticas de Albacete, Ayuntamiento de Albacete. (Premio adquisición/Acquisition award)
Ayuda a la promoción del arte contemporáneo español, Ministerio de Cultura, Madrid.
Beca de Artes Plásticas, Colegio de España en París, Ministerio de Cultura, Madrid. (Beca/Grant)
Cité Universitaire de París, Colegio de España, Ministerio de Cultura, Paris. (Artist in residence/Artista en residencia)
Premio de Pintura, Caja Castilla-La Mancha, Toledo. (1er premio/1st Award)
Premio Ibercaja de Pintura Joven, Zaragoza. (1er premio/1st Award)
Gran Premio de Arte Isabel de Portugal, Diputación Provincial de Zaragoza, Zaragoza. (1er premio/1st Award)
Beca InJuve para la ampliación de estudios y formación de jóvenes artistas, School of Visual Arts (SVA) New York, Instituto de la juventud, Ministerio de Trabajo y Asuntos Sociales, Madrid. (Beca/Grant)
Obra en Museos y Colecciones/Works in Museum and Collections
Ministerio de Cultura.
Gobierno de Aragón.
Cortes de Aragón.
Parlamento de La Rioja.
Museo Pablo Serrano, Zaragoza.
Ayuntamiento de Albacete.
Ayuntamiento de Zaragoza.
Diputación Provincial de Zaragoza.
Delegación del Gobierno en Aragón.
Colección Caja Castilla-La Mancha, Toledo.
Colección Ibercaja, Zaragoza.
Colección Caja de Ahorros de la Inmaculada, Zaragoza.
Bibliografía (Selección)/Selected Bibliography
Tudelilla, Chus, "Fernando Martín Godoy. La línea", EXIT Express, n. 42, Madrid, II/2009, pp. 33.
Alonso Molina, Óscar, "Golpe de sol", Santander, Galería Siboney, 2008, Cat. Exp.
Andrés Ruiz, Enrique, "La pintura en los tiempos del Arte", Pamplona, Gobierno de Navarra, 2008, Cat. Exp.
Martínez de Corral, Lorena, "Circuitos", Madrid, Comunidad de Madrid, 2007, Cat. Exp.
Rubio Nomblot, Javier, "Humo", Madrid, Utopía Parkway, 2007, Cat. Exp.
López, Virginia, "Una extraña sensación", ABCD de las Artes y las Letras, ABC, n. 819, Madrid, 13-19/X/2007, pp. 46.
Rebollo, Marcos, "Fernando Martín Godoy", ON MADRID, n. 73, Madrid, 12-18/X/2007, pp. 6.
Eguizábal, Raúl, "Interior Exterior", Madrid, Utopía Parkway, 2005, Cat. Exp.
Santos Amestoy, Dámaso, "Skiagrafía", Blanco y Negro Cultural, ABC, Madrid, 2/IV/2005, pp. 32.
1. What made you choose art as a profession?
I don’t really remember choosing it; I’d say I became an artist in a very natural way. When I was a kid, I played with all the materials I had to hand and spent all my time drawing and building things. When I had to decide what I wanted to do, I realised there was really only one option. Even my parents agreed and ever since they’ve always backed me to the hilt. Later on, when I finished university, I did make the conscious decision to leave the temporary jobs I’d taken on to earn a living and concentrate exclusively on painting. I find it very satisfying to be able to earn a living from my work as an artist. Anyway, if I weren’t a plastic artist, I’d definitely be doing something else creative.
2. How would you define your work?
I find it difficult to define my work. What I can say is that it’s an attempt to tell others about my relationship with the world through painting on two-dimensional materials. I like the challenge of working within the physical limits of the canvas and the relationship set up between the observer and the picture. My work is contemporary yet at the same time draws from the history of painting.
3. What subjects are you interested in?
I use light and colour to talk about things, so there are lots of subjects that interest me. I like starting with what I know, like the city or the human face. My work isn’t very conceptual or narrative. I work more with feelings than ideas. I like mystery and a certain kind of mysticism.
4. What resources – formal or otherwise – do you use in your work?
Combining different forms, false objectivity through very detailed drawing, working within a very limited range of light and colour, variations on a theme, partially hiding information…
5. What relationship does your work have with reality? What are your raw materials?
My work is based on reality; the initial materials for my work are photographs I take in my immediate environment.
6. What, according to you, is the point of art?
Art can be totally unnecessary and yet at the same time absolutely vital. I think art is a tool humans use to grapple with the world. I’m particularly interested in art’s ability to make people feel things. You can’t compare people’s feelings for works of art with many other things in life.
7. How do you hope the public will receive your work? What audience are you aiming at?
In principle I’m aiming at all audiences, but I fear there’s a great barrier between most of the general public and the art world. I don’t know what to expect from the audience, but I’d like them to enjoy my work in some way. I’d be happy if people approached art as naturally and freely as they approach sport, music and film.
8. What qualifications have you got? What do you value most from your time in education?
I graduated in Fine Art and have since taken some workshops. I feel I’m constantly learning. What I value most is my relationships with fellow students and participants; I’ve learnt a lot from them and we’re still friends.
9. How would you define your current professional situation? And in the future?
I’m at a stage where I’ve got plenty of work and lots of things are happening. I hope things carry on like this.
10. Many artists say it’s difficult to make a living from their work; how do economic considerations affect you when it comes to work? Do you think this has a bearing on your work?
I live almost exclusively from the work I produce. On the one hand, it’s a question of luck, because I’ve got all day to work and don’t have to spend time doing other things. On the other hand, you can sometimes feel a bit overwhelmed by the market and maybe feel you don’t have much control over your work, although in fact I generally think I have a lot of freedom when it comes to making decisions about my work. Anyone can feel overwhelmed at any time. In any case, if I didn’t have to produce work at a certain pace (to make a living from it), I know I wouldn’t have painted as intensely as I’ve done in recent years. There’s the same economic uncertainty as in other industries I’ve worked in. I’ve had temporary jobs as a college teacher, office worker, in the catering industry, etc. It was only when I decided that I might as well do something I liked – even though I knew I wasn’t going to be any better off – that things started to come together.
11. What do you look for or expect from your relationship with promoters and curators? What advantages and difficulties have you found with these relationships?
I suppose I expect them to bring my work to the public. What I like most about my relationships with promoters and curators is that they’re often people who can get across a passion for art and enjoy working with artists. The main problem from the artist’s point of view is that it’s difficult to get access to them.
12. What do you think sets the arts scene in Madrid apart from elsewhere? What would you say are its pluses and minuses?
Madrid is, without a doubt, the liveliest city in Spain and has the most artists and the biggest market. Compared with other capital cities worldwide, I don’t think it does too badly. I think the artists here are just as good as anywhere else, although I’d like to see more contact between us. I think we work in a fairly isolated fashion, and I’m talking about all areas of art. Another problem is that Spain lacks a consolidated tradition of collecting works of art and providing support for the arts in general – major factors in other countries. There’s an appalling lack of institutional protection for artists. On top of the insecurity and precarious nature of being self-employed, there are no incentives for artists, and if you compare the situation here with the support for young people in other European cities, you can easily feel the urge to move (which is also something I think all artists should do anyway). Something Madrid really needs is big creative spaces, where artists can have access to a fixed space for working, interacting and showing their work.