There are no surprises.  Ferrer Guasch never surprises, and that is part of his charm.  Why not?  90 years old last birthday in May and a winning formula now’s not the time to start experimenting.

More linear, even, than in other expositions, the painter has 22 paintings on display at the Berri Gallery with a predominance of the white of the walls and little patches of blue sky.

The same white as always and the same known blue.  This time, there isn’t even the inclusion of some boat, or the cathedral’s bell tower, only houses, lime-covered walls and steps with which to play with shadows and the perspective of windows and balconies.

And then, timidly, a tiny sliver of sea appears between two houses to give a point of contrast, a place to concentrate the eyes before letting them wander back into the white.

Number 9 – to put an example – is of extraordinary simplicity with admirable technique; a stretch of white and very Ibizan wall broken only, in the top right corner, by a deep and blue window which appears to be struck by the midday sun.

A part of the cultural establishment of this island – in which it would appear that anything goes and is called culture for want of a better term – has criticised the artist for repeating his white walls and blue skies almost ad infinitum, but to find an own style, perfect it and make it inimitable is not really a bad way of seeing an artistic career.

Maybe it’s because they incapable of showing a window in the Mediterranean light in the way that Ferrer Guasch does.  Because he not only knows how to paint, he can also draw and because he’s never exaggerated a shadow with a tone of grey darker than needed.

One whole wall of the Berri Gallery, from painting nº4 to nº12, is dedicated to a series of similar sized works, which are the last ones created by the painter.  The rest is basically a collection of pictures painted last year.  The most expensive costs 4,200 euros and the cheapest, 2,000, and most are around that price.  They are all oil on canvas.

Vicente Ferrer Guasch likes white and he likes the Mediterranean light, and he can capture it whether it is on Ibiza’s buildings or the typical houses of Santorini, where he was in the 70s and painted a series in the same known line and which demonstrate that Ibizan architecture is not really the objective of his brushes, but rather a pretext to study the effects of Sunlight.

In all fairness, the Ibizan houses and those of the Greek islands catch the eye for the same white walls with small windows to avoid the extreme summer temperatures.

The exposition will stay open until early August, in the Berri Gallery, in San Agustin’s square, which opens its doors at nine o’clock at night.

A new opportunity to contemplate the linear work of the Ibizan artist, of the fourth part of the Puget group, who chose to stand out from his colleagues for spending more money than anyone on tubes of titanium white oil paint.