We live in a time of intense visual contamination of images coming from television, the internet, cinema, outdoor advertising, print media, etc. etc.
It is an unprecedented bombardment of images in the history of humanity, transforming our vision, which is becoming asleep. Each day, hundreds of thousands of images pass quickly before our eyes.
We hardly have time to contemplate a painting, something that requires a more time-consuming attitude, a subtle and sensitive appreciation at the same time.
In the vast majority of contemporary art events there is little room for two-dimensional works, except for photography. In this current context, although the seduction of the new means prevails, it is still possible to state: Painting is still alive! ...
The current set of works of Vicencia was developed gradually from her previous phases where she experimented informal figuration and later, in her research, explored the possibilities of monotypes and the drawings extracted from their surfaces.
In this process of solid root, the artist extracted the drawing from the painting, which separately was improved as a language, and then reinserted again in the painting, this time in a balanced way and in perfect harmony.
The works of Vicencia transit here among painting, collage and drawing. She paints by drawing and dialoguing with patterned fabrics, integrating them on the surface of the canvas when re-creating and prolonging the contents of these prints by painting and drawing.
The artist uses a creative process that incorporates the multiple, the heterogeneous; it is an expansion of the painting by dealing with collage, drawing, sewing and adding metals on the canvas surface. All that brings radical changes to her way of painting.
In this process, it is possible to identify some elements that make up her repertoire: on the one hand, those coming from prints of glued fabrics, such as flowers, with references to pop art and tropicalism; on the other hand, we can identify the elements coming from the creative action of the artist expressed through lines and intuitive graphic laces, arabesques, references to the art deco movement, to Carnaval. All these elements characterize her present production, which together refer to questions related to the concrete and neoconcrete abstraction.
In a certain way, Vicencia conceptually reveals "Duchampian" inheritances in these collages, when appropriating the designs already in these printed fabrics. It arises here a dialogue between the printed drawing and the represented drawing. That is, a representation dialoguing with another representation and not with the real world. The metalanguage is used herein by introducing a ready-made pattern in the painting and not a represented pattern.
In the work of Vicencia, the question of the drawing and the line is a predominant structural element, it is her symbolic territory, in which all her personality is manifested.
These lines interact with the printed fabrics and the chromatic spaces, granting to these elements that make up the painting, differentiated weights and visual values.
These entangled lines of organic content modify the perception of the artist's saturated painting and lead our gaze through the surface of the painting as it transits among different territories and borders dissolved by the integrative intervention of the drawing, inserting depth on the canvas and increasing the strength of its chromatic fields.
The freshness and complexity of her compositions in the pictorial process give rise to the formulation of the artist's own visual theories, taking us to a singular imaginary of admittedly beautiful and very expressive paintings that keep our attention.
Although we see an apparent ambiguity between emotional and rational territory in Vicencia's paintings, plastically, what ultimately prevails in the field of representation are the emotive lyrical compositions in which the hybrid procedures are gaining space and form in the present time.
The painting of Vicencia has nothing of docile. On the contrary, it is wild to the extreme, and it is precisely this characteristic that makes her work attractive to our eyes.
In this experimental moment of drawing, other strands and possibilities arose around space and architecture.
In her works of architectural intervention, she puts into question the boundaries of painting and the place of art, when the artist extrapolates the traditional boundaries of the canvas support, extending the drawing to the walls, which are incorporated into her work in form of support, transforming these walls into the field of representation of her ideas.
Here, very pertinent issues to contemporary art are discussed: territorial expansion, limitation of traditional supports, ephemerality of the work, action and intervention of the artist in the real space of architecture.
At this moment, Vicencia gives up something precious to many painters: the autonomy of art. It is a dive in the territory of the installations that use the architectural space as support and come to depend on it.
In synthesis, they are highly seductive paintings, which attract attention revealing to our eyes the artistâ€™s intention: the constant search for freedom.
The novelty of the artist's works puts her in a select group of painters who have given new solutions to the conceptual dilemma of representation. At this moment we see the whole authorial statement on the surface of the canvas, thus highlighting her fundamental action as a painter.
The current pictorial moment of Vicencia Gonsales is the best phase of his historical path.
It is worth not losing sight of the new paths to be taken by the artist in the field of painting ... "Walker, there is no path, one makes the path when walking".
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 donâ€™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.
This exhibition by the artist Vicencia Gonsales presents three distinct moments and, at the same time, interconnected by her pictorial investigation: paintings, paintings-collage and monotypes.
This time, in addition to the canvas support, Vicencia exposes her research on paper support, whether as collage or monotype.
If the previous exhibition was characterized by formal and expressive homogeneity, this one is more heterogeneous in techniques and languages, although equally cohesive in the thematic.
While the last exhibition privileged the deconstructive action of the artist on the values of pictorial language - disfiguration of the figure and discoloration of color -, the current one emphasizes a poetics of composition in which the figure is the central object of reflection.
In fact, the present exhibition consists of the delicate, translucent and fluid appearing of the female body figure from the background of the painting from where it emerges, under colors and shapes with which it simultaneously mixes and distinguishes itself.
The very eroticism of the female body, that appears disappearing in the place where it stands out without being completely delineated, makes explicit the use of the technique of collage by the artist.
That is because the pages of newspaper applied in the midst of the colors constitute an optical texture that helps in the process of revelation-concealment of the figure in relation to the background. The bonded material allows them to be homogenized, making it difficult to distinguish them through sight. It is a remarkable formal resource in the service of poetic expression.
If in her previous exhibition Vicencia got from the back of the canvas - light, transparency and depth - in this one she shows the very opposite: opacity and closeness of the observer. While in her forest scenarios one could penetrate with the eye into infinite depths, in the works of this exhibition, the back images themselves materialize what one immediately sees.
In this sense, the corporeality that constitutes the guiding thread of the present exhibition teaches the enjoyer to see more than the eyes as such allow. It teaches that corporality is from the order of consistency and volumetry, in the same way that the artist's previous exposition taught that spirituality is from the order of transparency, luminosity and depth.
However, the greatest teaching of both exhibitions is that the contemporary artist is always a researcher, a constant experimenter. It is someone who, like Vicencia Gonsales, goes from one opposite to the other in search of knowledge of herself and in the pursuit of all her expressive possibilities.
The current moment of the artist Vicencia Gonsales is based on the drawing and the line, which has been used as a structural element in the area of representation of her creative process, both in his bidimensional works and in her spacial and tridimensional works.
In this installation, the artist discusses the territorial expansion of arts, investigates the relation figure / background of the line in its surroundings, questions the architectural space used as support and symbolic territory to materialize her ideas.
Her intervention deconstructs the architectural space, using it as a support, presenting and revealing new social relations and, at the same time, proposing new possibilities.
The work consists of several elements that make up the installation: interwoven webs, entangled structures, cocoons, floating solid drawings in space, graphite drawings that take the walls and solid graphic lines that weave and cross that space. Also here, as a component of this work, there is the body and the participation of the spectator who brings his/her physical presence, plus his/her visual and perceptive exploration of this installation, in the place as a whole.
The work also highlights two important aspects. On the one hand, it presents its materiality of rigid, yet light aspect of the metal used. On the other, it presents the creative process and the artist's action in space - issues clearly perceived by the viewer.
It is a work that goes beyond limits, a radical intervention in space, extremely vigorous and, concurrently, balanced and refined.
In one of the five simultaneous solo exhibitions, Vicencia Gonsales used the architectural space of the room called "Xicletes Mini" to expand her territory, extrapolating the limits of the traditional space of art, questioning, among other concepts, the autonomy and ephemerality of work.
"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."