STUDIES in direct contact since childhood with artistic means, pintsus first abstract paintings in 1966. AFTER a few isolated campaigns in 1985 and 1988, dediccon intensity to painting since 1994. His first individual exhibition came to demonstrate their conditions of good painter. WORK EXPOSED - Museo de Bellas Artes. Oviedo, Asturias. - Nigro Art Studio in Ibiza. EXHIBITIONS 2003 - Individual and permanent - DUNE Furniture. Oviedo. 1999 - monographic - Galera Azul.Ibiza Book 1997 - monographic - Sala de Cultura Sa Nostra.Menorca 1997 - Individual - Sala de Cultura Sa Nostra.Ibiza 1996 - Individual - Galera MW.Madrid 1996 - Individual - Galileo.Madrid Cultural Center 1995 - Individual - House Cultura.Avils (Asturias) Press kit: Nigro: Paintings by the end of a millennium Born in a family where art was a vocation and need, paint has always been to Nigro (Oviedo, Spain 1919) a ms vital sign. Watch from his youth to the future of plastic arts, seruna visit to MOMA in New York in the Fifties, which acte as a catalyst for artistic sensibility always burst. The contemplation of works of the great American abstract expressionist constituypara l interior an authentic revelation of fruitful consequences, and among them, Franz Kline, with its austere compositions in black and white, fuel that will most impact. Nigro has continued since the abstract wave then inundEuropa, making his first abstract experiments dense matter and emotion. His career, silenced during some periods in the physical plane, but never come to grow spiritually in the last six years with a millenarian fervor, and hundreds of pictures and several individual and collective. So far from the untamed cry of color and the gesture convulsive Nigro's work is aligned in that great European informal family-Soulages, Hartung, ... - That optpor the contention goes further as a means to express their most profound sensitivity. On a monochrome funds obtained through rapids roll movements, Nigro personalsima graph shoots a broad and powerful strokes, which structures the field in strips pictorial gestures dislocated or curved. The more or less pressure color and made with brush or roller, is the starting point of an intensive dialog sensitive to nuance, to sweep and ensoacin. Sometimes one can trace sb dibujstico conjecture underlies the compositions of intense chromatic sobriety, but in any case, most anmica that referential nature. His gesture is always slow, quiet, contained, executed dirase, to the rhythm of house painter or advertising signs. And this gesture is not only physical expression but also spiritual, reflecting a series of matrices unaware that enrich the process without stifling its unpredictable nature and casual. And these are none other than the sense of order, clarity and balance. And all this expression of inner beauty and plastic is carried out, as I say, no extravagant gestures, without vehemence or clergy. Because most intimate confessions, the most profound, are almost always quietly and slowly. Prof. Dr Francisco Egaa.