Born in Casas of Santa Cruz ( Cuenca)

He studied Fine Arts in Salamanca.
During the nineties traveling through the Middle East, England, Netherlands, Italy and France.
His work is made ​​known in Paris, New York and Singapore.
His works are represented in prestigious collections in Europe, America and Asia.


1985 Culture, Albacete. East Room, Yecla. Lazarillo 1986 Gallery, Salamanca. Box Aragon, Teruel. 1987 Culture, Albacete. CCM, Cuenca. 1988   Caixa Ontinyent, Gandia. Box Aragon and Rioja. Caja Madrid, Aranjuez. Culture, Denia. 1989   Fedeto, Toledo. 1990 Caja Navarra, Madrid. The Carmelite Centre, Cuenca. Duayer 1991 Gallery, Madrid. Casa Cultura, Valdepeñas. Etxeba Gallery, Bilbao. 1992 City Hall Marbella, Málaga. Caja Navarra, Pamplona. 1993   Gallery Castile, Valladolid. Pillars Gallery, Cuenca. Club Financiero Genova, Madrid. Duayer Gallery, Madrid. 1994 Sargadelos Gallery, Pontevedra. Espi Gallery, Torrelavega, Cantabria. Artesantander Fair III. Sargadelos Gallery, Pontevedra. Sokoa 1995 Gallery, Madrid. IV Artesantander Fair. Museum of Contemporary Art, Toledo. Artesantander 1996 V Fair. Sokoa Gallery, Madrid. 1997 Gallery Comas, Barcelona. Artesantander Fair 1998 VII. Gallery Comas, Barcelona. 1999 Sokoa Gallery, Madrid. Artesevilla. Artexpo, Barcelona. Opera Gallery Paris, New York, Singapore. 2000 Bay-Sala Gallery, Bilbao. 2001 Gallery Comas, Barcelona. Artesevilla. Sokoa Gallery, Madrid. 2002   Bay-Sala Gallery, Bilbao. Artexpo, Barcelona. Sokoa 25 years, Madrid. Artesantander Fair 2003 XII. Gallery Comas, Barcelona. Lineart, Ghent, Belgium. Artexpo, Barcelona. 2004   Artexpo, New York. Espi Gallery, Torrelavega, Cantabria. Opera Gallery Paris, New York, Miami, Singapore and Hong Kong. Lineart, Ghent, Belgium. 2005   Opera Gallery Paris, New York, Miami, Singapore, Hong Kong and London. Het Zwanepand, Antwerp, Winter Hall. Lineart, Ghent, Belgium. 2006 "Hispanic Heritage." Opera Gallery, Miami. Bay-Sala Gallery, Bilbao. Puchol Gallery, Valencia. Lineart, Ghent, Belgium. 2007 "Tempting Memories". Opera Gallery, Hong Kong. Sokoa Gallery, Madrid. Lineart, Ghent, B elgium. 2008 Gallery Comas, Barcelona. Puchol Gallery, Valencia. Maravia Gallery, Cordoba. 2009 Walker Galleries, North Yorkshire UK. Sokoa Gallery, Madrid. Opera Gallery, Singapore. Bay-Sala Gallery, Bilbao. 2010 Gallery Comas, Barcelona. Opera Gallery, Dubai. 2011 Puchol Gallery, Valencia. Rusinol Gallery, San Cugat del Vallés, Barcelona. Penche Angeles Gallery, Madrid.


RUBIO Nomblot, Javier. Weather. Ed The Point of the Arts. 1988.
ARTEGUíA Magazine. ART DIRECTORY OF SPAIN. Ed Fernan-Gomez. 1992.
Rodríguez-Acosta, Maria Cruz. Ulpian Carrasco. ACK Communication. 1993.
Dictionary of Painters and Sculptors of the Twentieth Century Spanish. Forum Artis. 1994.
Dictionary "Who and Why". The Point of the Arts. Madrid. 2000.
Catalog Ulpian Carrasco (Opera Gallery, Singapore). 2002.
Catalog Ulpian and La Mancha (Sokoa Art Gallery, Madrid). 2004.
Spanish Index of Humanities, Fine Arts, Volume 13. 2006.
Hispanic Heritage Catalog (Opera Gallery, Miami). 2006.
PEREZ GUERRA, J., The Symbol of the landscape. Ed The Point of the Arts. 2006.
Catalog Tempting Memories (Opera Gallery, Hong-Kong). 2007.
Catalog Man and Fractals (Gallery Comas, Barcelona). 2010.
Mir Soria, Patricia. "Maps", Europa Press. Puchol Gallery, Valencia. 2011.

Work in Museums and Collections

Fundación Caja de Navarra, Pamplona.

Fundación Caja Madrid, Madrid.

CCM Bank Foundation, Cuenca.

Museum of Contemporary Art in Toledo.

Royal Academy of Fine Arts of San Fernando, Madrid.

Antonio Pérez Foundation, Cuenca.

Pinilla Crespo Foundation, Cáceres.

Contemporary Spanish Engraving Museum, Marbella.

Gregorio Prieto Foundation, Valdepeñas (Ciudad Real).

Collection Grupo Estevez, Jerez de la Frontera (Cádiz).

The strength in painting Ulpiano Carrasco

     A recent set of paintings by bill dedicated to the world around from the standpoint Expressionist primary color, set this solo show of painter manchego Ulpian Carrasco. Away from topics like adustez or Castilian austerity, this veteran of the brushes have long found the material color strength temperament suitable for energetic, passionate. Since always attracted to the world around Carrasco Ulpiano overlooking the landscape to transform it into pure painting, on with the fiery reds, oranges and yellows of his palette.

    A expressionism relegated to being mere tradition for many, but this artist is perpetuated in constant renewal and always means new ways of looking, turn to the outside. The purity of unmixed colors, the brightness of your lights Fauves with additional contrast therefore, ambiguity sought in the merger between background and motive, make the work of this artist a real whirlwind, exhilarating the senses awaken.

    City scenes, exotic still lifes, landscapes that extend into the rich amalgam flat multicolor juxtaposed figures on the painting itself labeled single gesture schematic windings, stains, glowing color fields. . . They are the singularly beautiful plastic repertoire of this tireless traveler, inspired by the succulent mana of their pigments wherever you are.

    Ulpiano Carrasco studied Fine Arts in Salamanca. During the nineties traveling through the Middle East, England, Netherlands, Italy and France. His work is made known in Paris. New York, Singapore, Hong Kong, etc. .. Prestigious collections displayed in Spanish, as Gregorio Prieto Foundation, the Royal Academy of San Fernando, the Spanish Engraving Museum of Marbella, the Museum of Contemporary Art in Toledo.

    In his works the artist assumes the two most important roads that followed the forefront since the early twentieth century (the passion for the color or the preponderance of the way), and raises a beautiful symbiosis intended to rework a classic genre as the landscape, although in this exhibition there are also examples of magnificent still lifes and cityscapes (confined to New York). Two genera, landscape and still life, which constituted an exceptional laboratory for the first avant-garde forms and post-neo-figuration will reprise eighties until today. The brushwork of Ulpiano Carrasco interprets these reasons from the color, through contrasts on, screeching harmonics, depending on what the artist is trying to express. The temperature of his paintings is intermittent, with high visual areas contrasting with other nuclei wisely turned off, but this back and forth is plastic energy combines into a coherent whole. Through the fleshiness of his brushwork, the direction of the stroke and color purity, we can guess how the intense natural light or neon signs has been gradually modulating specific geography of those spatial areas, natural or urban the artist provides.

Ulpiano Carrasco personality  

   The paint also tends to be expressed from the memory of the painter, is tidying experiences. In this memory are stored the landscapes, people, objects that are somehow imaginary referents, the raw material from which   art is made. Ulpiano Carraso knows how much his work responds to these inductions prior personal experience. If I did, he would have invented other territories, other people, other deposits of reality to organize thematically his painting.

  The most striking result of this attitude starts undoubtedly translate your way shapes and colors native spaces. Apart from the figures or human referents that can populate this painting is the landscape that becomes more urgent range. All these groves, forests, labrantíos, fallow arguments repeatedly elected as plastics, indeed belong to the rural orbit with Ulpiano Carrasco has lived since he decided to become a painter. The landscape of La Mancha, usually linked to the countryside Cuenca, occupies the prime development area of his work. And there, in the sensibilidadante this landscape where the artist found his reason for being, ie his way of painting. An aesthetic that ostensibly coincides with the aesthetics of nature Mancha.

   Ulpiano Carrasco has had, of course, their teachers. Suddenly there walks powerful matter his countryman Benjamin Palencia; also walk around warps vigorous expressionism more thorough tempered by the Impressionist palette. The use of color as a reference source is due here to the same stimulus that communication from the distortion of reality to make it more operational artistically. Perhaps some of these oils remember then, to mention a possible reference, certain aesthetic Van Gogh, especially in regard to the coiled fillings. But most of these techniques appoggiatura, those sediments subtly learned languages, always excels Carrasco Ulpian personality, while creating an honest, sensitive, passionate, artistic transposition of nature.
                                                                                           José Manuel Caballero Bonald. Madrid, 1994