The Pigment Gallery was launched in Barcelona in January 2016.

It was founded with the aim of adapting interactively to the changing global society in order to ensure contemporary art reaches anyone with curiosity or sensitivity towards art.

It is moving location in September this year to Calle Rosselló nº 193, which remains within the traditional hub of the city’s main art galleries.

Pigment is the matter that gives colour to paint. Its etymological origins come from the Latin word pigmentum that is formed by the verb “pingere” (paint) and the suffix “-mento” (result). This simple term was ideal as a name for the gallery.

Pigment Gallery deals in the promoting and publicising of contemporary art, within a line that ranges from modern figurative to the purest abstract art, to promote new artists from both home and abroad, and to present their works both nationally and internationally, especially at the main contemporary art fairs held around the world (Europe, USA and Asia).

The gallery supports a take on reality and current trends that flees from fashions and clichés, in search for new voices that provide a breath of fresh air to the art world. Discovering, sharing, investing and generate areas of debate that go beyond merely exhibiting.

Graduated in History of Art from the University of Barcelona.

He worked for two years in the Trama Gallery and Sala Parés developing different tasks.

In 2016, the project Basement Gallery, a contemporary art gallery in Lleida, began.

Currently, and from April 2017, she works at Pigment Gallery as assistant director

It is said that he is most likely one of the best art dealers of our time, which is funny because he believes that a painting should not be sold.

“A painting must be bought for you. More than once I have told one of my closer clients that had he ever been given the impression that I had sold him a painting, then he had not made a good purchase”.

“The art world and galleries are undergoing a historic change. The old models are gradually collapsing one after the other. The gallery owner has gone from being a vendor to a first-tier businessman who has had to face the new technologies and permanently travel to cities abroad to take part in fairs or visit clients. The gallery has gone from being a reception space to being entirely transmitting, which is only possible if the gallery owner is able to complete the transformation work to turn himself into an insatiable contents manager.

The client of old has disappeared along with the traditional gallery model, and the new generations, who will mark the sector’s future, will have to be attracted by innovative strategies that in some cases might even be unrelated to the sector. That is what I call contents creation. They might be, for example, small meetings the gallery where the public is offered a marriage of wines, a concert, a chat with an artist presenting his or her new work, a vermouth taster or, why not an exhibition by and for culture? As well as being able to attract the attention of either the general public or the critique, to gain presence on today’s scene these proposals are used to escape from this invisibility in which we are immersed. These contents also convey a vindicating message on the situation of the different areas of our culture, such as theatre, cinema, music, the circus, cuisine, literature, etc. So, each of these synergies that we are able to create and interpret are always positive and are nowadays absolutely vital.

Another concerning element involves the reduction in space, where the traditional street-level galleries are forced to move to office spaces on higher floors. This is because 80 or 90 percent of sales are made through export sales at fairs and not through local sales. This is a model against which we must fight. We must be capable of investing these dynamics to be able to generate mostly internal consumption, where exports become somewhat more supplementary”.