The painting of Kribi Heral (Biar, Alicante, 1967) maintains a difficult balance between order and chaos, freedom and control and, at the same time, reveals a tragicomic line that does not diminish the degree of spontaneity of his works. In contrast to the distancing that might be imposed by the medium in which he paints, perspex, there is a lingering doubt expressed in the tenderness with which he uses the materials.
Kribi Heral denounces man’s relationship with his environment, as well as the use of the communication media as a means of manipulation. This explains why the human figure is the principal element in his stories, even though it is often represented with a certain degree of abstraction.
In the work of this artist we can see a link between different languages, pop and subtle references to theatrical gestures of previous decades, in addition to more recent graphic designs. All of this resting on a narrative base that is highly imbued with surrealism.
Kribi Heral flees from stereotypes and classifications by producing work that assimilates various styles, techniques and formats. He allows himself to be influenced by graffiti and in this way connects with more urban art by combining bright colours with almost childlike brushstrokes.
The author abandons the canvas as a traditional format for this work, in favour of vinyl and perspex, which allows him to play with transparencies, presences and absences. In this regard, he uses cavities in which he applies textures and colours that emerge from a background, to produce an image that asks to be examined in detail, directing the eyes towards the cavities that artist has produced, in order to discover a work within the work itself.
His more pictoric work is often complemented by photography and new technologies, in which he used video creations to construct animated stories that give coherence to a discourse that speaks of our society and conflict, such as violence.