Liquid Landscapes, Sound
Painting on Paper - Paula Senderowicz
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The modulations of a same motif can be infinitive just like in music. Attend to repetitions because they will lead us thorough the melody but don’t let us distract us to much because the most important is what lies behind. Infinitive variations, sounds that compounds the texture of the story.
Reference to music is not casual when we talk about the paintings of Paula Senderowicz. Can you work with those things that a painting leaves out, time and movement? There fore paintings of mountains repeat, the line of the horizons, grey skies and the blue of ice to essay the revelation of an experience that is not represented in the painting but that is the painting. We must feel the painting in terms of ritual, of a work in which your body urns. We count on certain features to measure the shades of those secret rhythms: that goes to the immense up to the smallest, dense or watery, velocity to stillness, repent enthusiasm and long silences… Gerhard Richter understood painting as the only fight destined to failure that was worth while. If a same landscape is shown in several versions, if it can be naïf or conceptual, expressive or calculated, naturalist or fictional it is because in representation the criteria of truth don’t count. Paula’s work is not innocent. Ignoring the easy "novelty" of both contemporary arts our artist is dedicated to investigating the intricacies of a foundational tradition: the moment when man invented nature. There is no land that is not imaginary and in vane we will search behind the images of a real referent. If any reality facts these works there is where an image of childhood bears, probably forgotten or transfigured in the memory, at some point that the revelation of the aesthetic emotion granted origin to a calling of artist.
Lic. in History of Art of UBA
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