Life and death; day and night; light and shadow; heaven and earth. These are dualities that always interested Jordi Fulla throughout his career, which was one of the most coherent of his generation.

Jordi Fulla’s work exudes austerity, virtuosity and a profound poetic and meditative sense which is clearly demonstrated in the travelling project Llindars en el punt immòbil del món que gira (Thresholds at the immobile spot of a turning world), which now culminates in the exhibition , Llindar i celístia (Threshold and starlight) at the Can Framis Museum of the Vila Casa Foundation.

In the leaflet accompanying the exhibition is the sentence, “We are too insignificant to understand the universe from the outside”. It is a quotation by the artist himself, which is now especially emotional after his sudden death on 16 April at the age of just 51. Fulla was very clear that we could never understand the universe from our human condition and he dedicated himself to exploring that mystery from the position of his commitment to art. This walk through the magnificent and sadly posthumous exhibition by Jordi Fulla at Can Framis is a silent one. It couldn’t be any other way.

The artist had already invited us to silence when he painted spheres and stones floating in the sky. The recurrent theme in the exhibit is the dry-stone huts – a kind of rural architecture which particularly fascinated him. Fulla painted these constructions with his own special ground-breaking technique using photography but the result, more than being hyperrealist, is more oneiric.

The stones of the huts serve as a shelter and a refuge but the openings of the entrances are a path to heaven. The view from inside the hut is a search for the mystery of life. Fulla crosses the threshold of pictorial two-dimensionality and constructs volumes from the form of the silhouettes of the entrances. Sculptures like megaliths mirrored in the painting and in the earth.

A rural monochrome mandala. Participative fine art.

In the installation L’habitació del gra (The grain room), Jordi Fulla went even further and installed 179 lines of barley grain on the floor of the hall, which several friends of the artist meditatively helped to put in place in advance of the exhibition opening. This rural and monochrome mandala, participative fine art, watched over by an impressive tryptic of paintings of thresholds from the interior of the refuge, is undoubtedly the pivotal point of the exhibition. In the painting La pell de l’amnèsia (2014) (The skin of amnesia), on the other hand, the earth appears full of the rocks of the Segarra, as if the stones had decided to come down from the painting to occupy the museum.

From inside this exhibition, Jordi Fulla directs our gaze through his thresholds and invites us once again to discover the meaning of the universe. But for us, it is inexplicable and unfair that he is no longer on this side of it. Who knows whether now, having crossed the threshold of the universe, close to the light of the stars, Jordi Fulla has been able to make sense of it all.

The exhibition Llindar i celístia by Jordi Fulla can be seen at the Can Framis Museum in Barcelona until 16 June.