Madrid, Spain, 1915-2007
Palazuelo's work above all is the result of a dominant conception of excessively linear abstraction, which starts with post-impressionist experiences in the transition to the twentieth century and that in the sixties achieves its ultimate consequences with minimalism. According to this articulation of a theological nature, abstraction is the culmination of the principles of anatomy and pure visuality characteristic of art. The undisputed hegemony of this discourse has meant that other types of practices and aesthetics that, despite being situated within modern art have internalized their principles in a heterodox manner, have been partially ignored.
Palazuelo conceives art as "a way to give way to human problems." His references to the history of painting are continuous, and the influence in his work of the notion of line derived from Klee's work, which is a true revelation for him, is especially important. He also claims at the beginning his interest in Russian constructivists such as Gabo and Pevsner, even when he refuses his scientific conception of geometry. Palazuelo's work has been classified by the historiography of the last thirty years as an idealistic abstraction, closely linked to currents of spirituality and a sacred conception of the artist and his work. Although Palazuelo draws on currents of thought linked to esotericism, cabal and Eastern philosophy and thinking, it is also true that mathematics, physics and scientific thinking are fundamental to his work. The development of abstraction and the use of geometry in his work are closely linked to a rational process based on discovery - not invention - in new ways. This constant discovery that guides her work translates into a tension manifested through the endless variations of forms.
