Tomás Iriarte's first showing in Zuoz turns to the patio: the enclosed civic courtyard, painted empty in grisaille. The spaces wait without occupants, their architecture rendered in a drained and even grey.
Iriarte treats the empty square as a portrait of expectation. Absent the crowd, the patios hold only their thresholds and shadows, the painting attending to what a public space is when no one has yet arrived.
