José Ramón Amondarain is an artist with an extensive career. His work is an incision through the empiric field of painting.
Digital prints, paintings, temperas and installations delivers an interpretation that questions the veracity of art itself and reinterprets predetermined ways of doing things. His practice summons the work of other artists, historicals most of the time. This appropriationist attitude allows José Ramón Amondarain to dialogue directly with these artists and to enter a certain network. As David Joselit expressed in his famous essay “Painting beside itself” (October 130, Fall 2009) : “… once an object enters a network, it can never be fully stilled, but only subjected to different material states and speeds of circulation ranging from geologically slow (cold storage) to the infinitely fast.”
This oscillation between different speeds and states is the starting point of José Ramón Amondarain work that constantly turns around and explore painting as a polymorph object of investigation ; A kind of magma. His works belong to collections such as: Museo Nacional Centro de Arte Reina Sofía, Grupo Endesa, Arthur Andersen, Peter Stuyvesant Foundation, Banco de España, Unicaja, Caja Madrid, La Caixa, Caja Burgos, Fundación Marcelino Botín, ARTIUM, Coca-Cola, Unión Fenosa, ING Bank o DKV.