Ignacio Uriarte Gathers Nine Artists Whose Marks Behave Like Writing

Osnova Gallery Presents Kinetic Syntax in València

Osnova Gallery presents Kinetic Syntax, curated by Ignacio Uriarte, through November 20, 2026.

A mobile made from loose change might seem like a playful tribute to Alexander Calder. In Kinetic Syntax at Osnova Gallery in València, Jaime Pitarch takes the idea quite literally.

His Calderilla hangs real euro coins he found, turning pocket change into a delicate balancing act. Even the title joins in, referring to small change in Spanish while nodding to Calder's name.

Curated by Ignacio Uriarte, who also contributes two drawings in pigmented ink, the exhibition brings together nine artists working with signs, gestures and materials. 

Valerie Krause cuts and folds galvanized steel into small wall sculptures where the missing material matters as much as what remains. Yelena Popova creates her own pigments from soil and clay gathered in the landscape.

On view from September 17 to November 20, 2026, Kinetic Syntax moves between drawing, sculpture and visual language. Below, Uriarte's curatorial statement explains how these works form relationships that can be experienced through movement rather than simply decoded.

Curatorial Statement by Ignacio Uriarte

Kinetic Syntax brings together a set of practices that explore the relationship between gesture, sign, matter, and system, placing itself in a shared territory between drawing, writing, sculpture, and visual notation.

Through a variety of media—painting, drawing, ceramics, textiles, or installation—the works in the exhibition investigate how forms can operate as units of meaning: marks, symbols, or diagrams that, when articulated with one another, produce a kind of spatial syntax.

The exhibition begins from a semiotic intention: the images, lines, and structures found in these works are not presented solely as abstract forms, but as open signs—capable of being read, deciphered, or projected by each viewer.

Some refer to contemporary systems of signage—the schematic clarity of urban wayfinding, diagrams, or technical design—while others evoke more ancient registers: archaic scripts, ritual patterns, symbols that seem to come from remote cultures or from collective memories that are difficult to locate with precision.

Between these two polarities—ancestral and everyday, ritual and functional—a field of resonances is established in which a sign can recall both a lost writing system and a traffic signal.

In this context, the boundary between art and writing becomes especially porous. The repetition of the stroke, the accumulation of signs, and the organization of textual or graphic fragments generate structures that oscillate between reading and contemplation, between cognitive and bodily experience.

The works thus function as open archives, where thought, memory, and gesture are inscribed on surfaces that invite you to be traversed rather than decoded in a strictly linear way.