The exhibition has a question: can color and the composition of lines and planes in abstraction open new perceptions of what reality is and what goes beyond it?
Juan D’Lala, visual artist and trained musician, presents his series The Four Seasons, a tribute to Antonio Vivaldi. Each composition is a pentagram of light and color where chromatic variations generate sounds. The harmony of the spheres is a Pythagorean theory where the universe is governed by harmonious numerical proportions and the celestial bodies are governed according to musical proportions and intervals. And it is here where D’Lala’s representations, his visual compositions that due to their transitive property also become auditory, allow us to look and hear in synchrony the cycles inherent to the existential process of life. Spring, Summer, Autumn and Winter always follow one another, constant and different, in each cycle that restarts.
With his series Minimal Brutalisms, Pablo Morgante works with the rhetorical figure of the oxymoron. From the title, Morgante speaks of the brutalist architectural movement that is characterized by large-scale construction with concrete blocks, but here the artist abstracts the shapes, colors them and poses them on warm wooden plates, totally opposite to the cold and monumental of brutalist proportion. It is then where these structures become doors suspended in space and time that take us to dreamlike and metaphysical dimensions.
Alejandro Gigli builds his paintings from a vanishing point and sketches a box that develops in an empty space. The perspective and the multiple interspersed planes allude to portals. These buildings unfold and fragment in different points of view, transmuting into starships within a landscape of another time and dimension. The grayish blue skies and the yellow of the horizons give shape to an estrangement. That yellow light on the horizon accounts for myths where the sun is a god that brings light from a dark world and to a dark world, illumination in a transcendent sense is represented here.
Gilda Picabea creates repeating patterns with geometric elements. Emptiness is fullness and vice versa. A plane of Tibetan orange opposes the white. At first glance we see the duality. After a time of observation and thanks to Picabea’s composition, we manage to get closer to unity: it is at that moment where we understand that opposites are of the same nature, as if it prefigured a kind of abstract mantra similar to those recited by monks. Buddhists… with a repeating sound, monks reach transcendence. With the geometric shapes that are replicated, the artist designs a door or channel through the squaring of the circle that, when observed, expands our perception and the way of seeing beyond what we believe to be real.
In the works Synapse I and Synapse II, Andrea Fried represents the same image duplicated. They have great dynamism thanks to the diagonal lines that cut the vertical axes and the variety of colors used, 28 colors from a chromatic alphabet. A chromatic polyphony that rises and falls on an infinite staircase between heaven and earth.
These works raise and at the same time answer the question at the beginning.
“If the doors of perception were purified, everything would appear to man as it is, infinite,” William Blake.
Cecilia Molina, Buenos Aires, 2022
Curatorship: Cecilia Molina, Lucía Matusevich
Gilda Picabea: courtesy Hache Gallery
