Mesas/Sobremesas (Tables/Table Talk)
Tuesday July 16, 2013
Elena Lamm's Hall
This series of paintings on canvas and paper bears a certain resemblance to hyperrealism, yet does not identify itself at all with this genre. By this I mean that the resulting paintings do not mimic or aim to be perceived as photographs at first sight. The procedures that go into shaping them are complicated to explain and, although they have a certain image frame as a starting point, their composition and symbolism are what make them what they are: images that do not deceive the eye by seeming to be painted photographs. This, which, of course, is also legitimate, is far from the intentions and results achieved during this phase of the artist’s creative process.
Perspectives, chiaroscuros and anterior-posterior angles occasionally invite the spectator into the composition, as occurs in The Avenue at Middelharnis by Meindert Hobbema, a seventeenth-century Dutch artist. This is especially true of the paintings of the artist’s studio, which become a scenario that somehow portrays the artist without him actually being represented. His meditated “chaos” is, in actual fact, highly organized, pictorially speaking, and is intended to put the focus on tonal values, light sources, backlighting and shadows, setting an emotional mood that, at the same time, projects us toward the objects of his study, observed over prolonged, or, on the contrary, brief combinatorial sessions. Prolonged in the sense that the large-format compositions are subject to the modifications required to make them perfectible, according to the artist’s eye and mind. Brief, more so in the case of some of his paintings on paper, which aim to be very first hand.
Dr. Teresa del Conde