As of 2000, he incorporates different temporalities and reinvents the synthetic expressionism that he had already created fifteen years before, using the line of the drawing as a key element for the distribution of colors. He maintains and perfects his commitment to capture life, draw it and paint it to be part of it. Although with pop and urban roots, his work is characterized by an internal coherence and an overflowing personal iconography. In this painter it is impossible to separate life and work, that is why each painting is like a page of his biography. He has created more than one hundred individual exhibitions and his works have entered numerous public and private collections.
Over the last ten years, Roca Sans has traveled the Mediterranean and explained the experience of each trip, publishing fourteen episodes with a wide thematic repertoire through fictional stories and visual arts that incorporate painting, sculpture and graphic novels with the application of new technologies, highlighting the fixation of light on supports such as marble and methacrylate as well as graphic novels in video format. This is the Ermoupoli project, which the artist canceled in 2017 to continue exploring through strict painting the polysemic availability of the image and to seek a narrative where each viewer can build their own story.
Roca Sans continues to develop a personal style that emerges in Munich in 1985 and which can be defined as synthetic-expressionist. Since then and for fifteen years, the castle at Palau-Sator is where he develops his artistic and existential world.
THE LOST PARADISE 1974-1984
1974/79 – Roca Sans was inspired by the writings of Giulio Carlo Argan about revival and defined himself as post-avantgardist before words as post modern or transvanguardism were invented. For the painter, what is not tradition is copy, and also has the obsession to explain the world and life. He does not understand Art but as a chance to give a personal view of the human condition and therefore he must be narrative. The Book The Experience of the Empordà involves finding a lost Arcadia in a disappearing rural world, with a mark up symbolic language.
1980 – His series Pastorals Empordaneses give an overview of Mediterranean life from a nostalgic urban perspective. It is an exercise of symbolic construction, which delimit landscape to convert it in territory, as it would be, a territory “lived and updated more than represented” in a Bergsonian conception of the term.
1981/82 – In his book L’Empordà, pictorial poetry, is summarized in twenty-six pictures of large format an interpretation of this cultural landscape. Language is here synthetic and Mediterranean.
1983 – The collection A Mediterranean proposal provides the result of journeys that the painter do to the Balearics and the Greek islands of the Aegean, which leave him a lasting impression and where he promises to return in the future.
1984 – The artist performs actions in architectural and natural spaces in Spain and Germany. Disappointed by the trivialization and degradation of the territory, the Fragmentation Cycles marks a full stop within the artistic dialogue with Nature.
NIGHT LIGHTS 1985-1999
1985/86 – Like many artists of his generation Joan Carles Roca Sans spends time abroad, mainly in Germany and ended settling in Munich, articulating a language that more or less coincides with others proposals appeared in New York, Berlin or Roma. It is the series Tanzende. Years lived in the Bavarian capital marked a turning point and manhood becomes the permanent centre of the discourse.
1987/91 – Buys the castle of Palau-sator. Years later, the Fundació Catalunya Nostra grants the award Castells Culturals for this restoration. Since then “The Palau Tower” becomes a pioneer place where cultural activities take place. These years he arrives to a personal fusion of classicism and expressiveness that Jaume Fàbrega christens as “synthetic-expressionism”.
1992/93 – Roca Sans explore the half of Europe (Berlin, Munich, Zurich, Dusseldorf, Amsterdam, Prague, etc…) to observe life, to catch her and thus become part of it. José Luis Jiménez-Frontin in The looking and gesture portrays his characters as executioners of primitive sacrifices, and calls them as a successful fauna of victims and butchers.
1994 – His book The night drawn, collecting drawings made in 92, is a bittersweet and nostalgic look at the night in a city that will nevermore be the same.
The Ruiners and The Night Watch folders of silkscreen are also edited.
1997 – The catalogue The Night of the Hunter by Josep Mª Cadena shows us with a language vital and narrative a summary of experiences ranging from 92 to 96, making a plastic parable of postmodern society from a playful segment of it.
2000 – Publication of the book Obra 1974-1999, where the artist himself explains his motives and intentions over these years and we see that in fact, every painting is a page of his biography. The order is chronological and gives rise to the following sections: Paradise Lost, A Mediterranean proposal, Cycles of fragmentation, The Years of Munich, Time looking at time, Night Lights, Barcelona: the neighbourhood drawn, Two by two, Water Mirrors, Rembrandt: the light, Of a time superhuman, Jade Palaces and Travel blogs.