Julián already knows that his digital drawings will form a predominant corpus in his discourses, he cannot avoid it; it is a clear symptom of artistic maturity and growth. He has to look in a more intimate and personal direction, and must flee from idle pursuits for a modernity that sometimes intoxicates.

The artist has found the individual and has fallen headlong against the cupboard, the flowers, the fridge, the packet of rice, the tin, Castor, Marion and against the plant that he bought in the market of la Croix – Rousse de Lyon. Each impact is insufficient to him and as such, he uses photographs, as a reference point for reality, in an attempt to capture it better, like the fierce wolf, but they are the qualities of these characters that he needs the most since having them face to face means he can start to dialogue with the forms and observe them in a spontaneous and direct way. The artistical representation of the nature of mankind and its environment is now his territory. All of these experiences have sparked his enormous interest in portraiture, not only as a mere description of the model, their physical and moral qualities, and their personal experiences, but also the psychological “portrait” of the animate or inanimate models. He is overpowered by the scents given off by the new cast that protagonises his work.

In this exhibition, his “boss”, who wants to destroy his hopes and aspirations, calls him innocent and a dreamer. Julián, however, has decided to establish a “dialogue” with him and with the world with a contained and convincing tone, without a fuss. His response, through a renewed language, is to give us his vision of the world.

The exhibition is accompanied by a catalogue with the text by Manuel Castro Cobos ‘Julián Baena: en el umbral de la incertidumbre' (Julián Baena: on the threshold of uncertainty).