Following the wise words of art critic Seguranyes Mariona, diriam its development has been slow but steady. He was faithful to a kind of pseudofiguració – known in the 60s and 70s as “New Figuration” – until the 80s, which was aconsseguir several successes in competitions, such as the first prize for painting at the “III Ibiza International Biennial “1968 first prize in drawing the “Third Biennial International Deporte en las Bellas Artes”, Barcelona, 1971; or the only prize for painting at the “Fourth Biennial Black and White”, Madrid, 1976.
However, the turning point in the work of Berthold Coal deuriam place it in the early 80s; thereafter, guessed that abstraction will inevitably protagonist of his work.
Around its abstraction, George Rodriguez Amat wrote there that understand the “simple introspection as a reality, that is, in isolation and / or alteration of visual elements and not as a synonym for non-figurative shapes… the increasingly lose its meaning object to become pure image.”
We therefore required a waiver of the literal speech with a clear plastic vocation. As an example, think of their facilities on “International and II of Facilities at Cape Creus”, or detachable his sculptures that exhibit in Gallery 141 Nagoya, Japan in 1997.
Following the idea of pure visual drawn by Rodríguez Amat would be interesting to look at the work of Berthold Coal from this perpectiva; it is also obvious that behind the plastic or pure abstraction radical, always hiding something less literal forms of speech. We think not, abstraction characteristic of the music and its programmatic vert. Coal Berthold speech is subtle and answer a deep look not happy with the apparent surface of what surrounds it; the musical metaphor is especially helpful to us with their work, it is only necessary to consider the colors as different shades that appear and disappear in time and intensity variables. This eliminates the randomness underlying the composition of what we might call pure abstraction – if there is such a possibility – and defines works, however, firmly structured. The painting speaks its own language, quiet but penetrating.