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Discoloring the Color and Disfiguring the Figure

Discoloring the Color and Disfiguring the Figure: from Representation to Expression

The painting of Vicencia Gonsales has the power of grabbing the observer and lifting him/her into the space of the artwork.
Her informal forest scenarios don’t allow to be seen except by immersion amid the dense pattern of vibrating and agitated twigs.
This effect comes from the visual fact that there are no borders or distances in these interior landscapes: wherever the look is, its entirety is also there.
However, paradoxically, for a clear appreciation of the structuring principle of Vicencia's painting, an opposite attitude is necessary. One has to distance oneself physically from it to avoid being trapped and involved by its dense twigs gathering, where the vision is blurred and entangled, preventing it from noticing what lies behind and at the back of each of all works: the clear and emerging light of transparency.
In fact, in the sphere of color, the clear and dark colors of the artist's painting are extracted from an extremely unique color palette, cohesive and coherent in contrasts and complementarities. Colors that are at the service of what only reveals itself very subtly and delicately in the form of clue - transparency, appearing as the first and misty flashes of auroras that are only shown in the distance.
Technically said, transparency gives the painting of Vicencia Gonsales a special attribute, since it achieves something remarkable with it: to lend depth obtained by the work without using the technique of perspective.
That is how everything happens in the space of the support and not in a representation of space or in a space of representation. In this pictorial graphism, any representation is dependent on expression and not on figuration.
If when it comes to color, the painting of Vicencia uses the coloration to highlight what lies behind and beyond the color itself (transparency), when it comes to shape, what also becomes evident is a process of transcendence and overcoming the limits of it.
In fact, there was an increasing process of disfigurement of the figure (with comings and goings, repositions and subtractions), in the artist's paintings. Such a process, however, is neither deliberate nor random. It is subjected to the implicit (and not explicit) logic of the deepening of its dominant theme.
What was behind and conditioned this figurative deconstruction became the counterpart of transparency (color sphere) in the sphere of form: gesturality. Gesturality in its impetus of liberation and expansion. It is responsible for the dynamics of the work, for its vibrating movement, as if there was an immaterial presence in the artist's forest scenarios - a kind of multidirectional wind that, although invisible, moved everything visible.
Transparency and gesture are, therefore, structuring principles of the visual poetics of Vicencia Gonsales. What the first does at color sphere, the latter produces in the domain of form.
However, in order to perceive them, it will be interesting for the sensitive and attentive observer to distance himself/herself from what he/she sees and then see, what, being invisible, nevertheless, is absolutely present.

 

Antonio Carlos Fortis
ANTHROPOLOGIST

"My art talks about the feminine universe, about my dreams as a child, about the curious look kept in my memory, about the life in the countryside and the smell of wet soil, about the joy of living. I talk about the moments of loneliness, about looking at the immensity of the universe and beyond. I talk about the lived moments, about the non-lived ones, about the plots of the world, about the human being. Creating, for me, it's a necessity."