Joan Bofill Amargós (1982) develops a painting-led practice focused on gesture, time and perception. His work approaches painting as a space of sustained decision-making, where intuition and control coexist, and where images emerge through attention rather than illustration.
Working across painting, drawing and moving image, Bofill explores how presence, distance and material processes shape the experience of looking. In some works, narrative elements appear as structuring forces, guiding the image without determining it in advance. Meaning is not imposed beforehand, but formed through the act of making.
Alongside his pictorial practice, Bofill has developed a body of film and documentary work centred on figures whose thought, trajectory or creative position resonate with his own concerns. These projects do not function as biographical portraits, but as extended inquiries into authorship, intuition and the construction of meaning over time.
While much of his pictorial work is not based on portraiture, the notions of body, gaze and presence operate as underlying structures throughout his production, whether in abstract, figurative or conceptual compositions.
In specific long-term projects such as Retrato doble (Double Portrait), these concerns extend to the encounter with others, incorporating shared time and conversation as conditions of the pictorial act. These projects function as research and positioning rather than as commercial series.
His work has been presented in exhibitions and festivals and is held in private collections, maintaining a practice that balances formal investigation, material consistency and conceptual autonomy.