Over and over again, David Arnás stops before characters, some real and others imaginary, that he is passionate about, and especially that they miss him, and he wants to convey that passion, that strangeness of his as a painter. Again and again, he uses crowns, arrows, hearts, strings of numbers. Over and over again, he flaunts his clothing, his showy ties.
Over and over again, the settings are neutral: the old street in the center, the nightclub room with microphones from Now that I say, or that Pool that inevitably takes us.
towards those of David Hockney, and also towards those of Carlos Alcolea,

From the point of view of “how”, it draws my attention, in all and
Each of the moments that, chained together, make up this already pertinent painting!
and powerful, the scattered and fragmented language to which he has referred to
In a downtown cafe, it is a brilliant language, and it does not have
too much to do with the ones currently in progress in our scene, From
figurative language, which mixes great acuity when it comes to analyzing the faces
others, and a great ease when it comes to solving the rest of the surface of the painting.
From a language that gives prominence to sweet, sweetened colors, As colors often are, in the mass media, whether they are printed or electronic. Of a language that is very close to that of the mentioned Larry Divers, and also Kitaj’s, two North American names that The manuals ascribe to pop art, although seeing them only as that is reductionism. ta.

From the language of someone, David Amás, who without still having too much way behind his back, he already has a painter’s instinct, a fresh look, and a willingness to painting, tell us stories that do not leave us indifferent.