In Germinal, Moreno Martín casts his gaze back over his career as a painter, dismantling his practice, splitting it wide open and challenging it to the point of crisis. A process that begins from the idea of the painter—or subject—as the site of representations, fluctuating between the tension of inhabiting, continuously, both a diurnal vision (retinal, concrete and technical) and a nocturnal one (intuitive, dreamlike, laden with meaning yet difficult to articulate). More than producing objects, the project proposes a way of paying attention. An attempt to sustain the question of what painting can be today, while also recovering something of that original urgency that once drove the artist to paint, when there were no answers yet, only the desire to see differently.

In his artistic practice, Fermín Moreno Martín (Bilbao, 1970) reflects on painting in a practical way, through relationships of hybridisation established with other artistic disciplines, working with the hypothesis of producing an expansion of the medium that revolves around pictorial sedimentation, feedback from the synthesised image, and an approach rooted in installation. In doing so, he deepens the complexity of painting, freeing it from the confines of traditional media and materials. This opens the work up to new ways of grasping and articulating conceptual and formal principles, as well as its shifting possibilities of relation, configuration and adaptation.

He creates his work by submitting to conceptual and formal references transferred from other artistic languages, such as contemporary painting, graphic design, architecture and synthetic computer-generated images.

2025/26, SILVER