About

He is described as a “new romantic” by F. Jaunin, a “nomadic art” by J.-F. Aimaud, a “bleacher of the soul” by C. Pellet, Muma, arrived late on the roads Of art, is at an important turning point in his career.

Fifth in a family of eleven children, Muma was born in Barcelona in 1957. The memories of the Franco dictatorship will mark him deeply and make him a committed person. In 1977, he left the parental home and settled in the heart of Barcelona, ​​in the Barri Xino, where he studied music and took the first steps in the world of painting. The long hesitation between these two disciplines, with many musical productions at the key (78-84) will be decided by a solo bike trip that will take him to the heart of Asia (16 months).

He withdraws from his journey a need to deepen his knowledge and complete his intellectual and artistic training. To do this, he moved to Lausanne (1986), joined the University of Lausanne (art history) and then at the Cantonal School of Art in Lausanne, where he learned engraving .

While exhibiting since 1991, it is in 1994-95, around the Reflection on water project, that we must situate the first professional turning of his work: critical view of Jean-Luc Chalumeau at the Salon Jeune Peinture 95, at Paris, first color brochure, first institutional purchase (Ville de Lausanne, decoration of the STEP: 8 pieces).

Béat Christen, with Der Mensch ist der Mensch des Menschen (Prix Gutenberg-ECAL 1993), Joan Brossa Clavegueram, Daniel Maggetti Cosmic Fourmis, Eugene; As well as with other artists (work of confrontation with the sculptor E. Krähenbühl: exhibition … time … (Martigny-Barcelona).

As early as 2000, a new turning point, very promising, was announced: large formats, a drastic simplification of the technique reduced to a few pencils, white, translucent acrylics, washings and silhouettes. They are complex, composite images that link together.

However, the determining factor, catalyst, has been the progressive realization of the role played by images in our perception and the constituent elements of them: the unique image does not exist. It is always a lineage of relationships, influences, borrowings and offspring that should be taken into account when producing or watching.

The work begun in 2000 is carried out in major projects: Girona (E), exhibition, installation and performance (2003), Espace Culturel Assens (CH) exhibition and performance, and Allumons Vallauris! In 2004 and finally the exhibition at the Historical Museum of Lausanne (2006), for which the artist invented an alter ego called Croûton l’Ancien (Anticipated Memoirs of Professor Croûton l’ancien, Art & Fiction 2004) Work an ironic and metadiscursive tone quite disheveled.

Parallel to the work of the workshop, his reflection on the social bond (constitutive of the polis) and the collective rituals (constituting the symbolism of society) find in his performances the field of predilection with increasing success and a fame that crosses the (Barcelona 2009), The Garden of Lights (Swiss National Museum, Prangins 2008), Millenium of Neuchâtel (2011), Fireworks Festival of the Cité Lausanne (2012).