AIDA FLORIDO – TRANSBOUNDARY GEOMETRY

 

There have been numerous cultures and artists who have given importance to geometry, especially in the twentieth century, from the avant-gardes. In this way, that great cast of referents becomes the basis of any research on the use of geometry and is thickening this knowledge that unites science and Art. Moreover, for the artist, that geometry that underlies everything must be understood and represented, but in a personal way, so that, from it, make its particular representation of the universe.

Through a geometric world of colorful lines and forms the work of Aida Florido enters through the eyes and explodes in the heart. But that necessary approach to her Art consists of a process that transforms the viewer, because it makes you move from the simple form, to the laws underlying the work, to the patterns that mark the morphology of everything that surrounds us.

This is Aida Florido’s universe, or her way of representing it, her vision of the world. Thus we are presented at the exhibition TRANSBOUNDARY GEOMETRY, in La Casa Amarilla Málaga. And for this, it uses means as different as the materiality of wood and the weightlessness transparent colored vinyl. She materializes her work in forms and volumes defined next to flat geometric schemes, but having to see both under the prism of color of the transparency that the light produces when passing through one of her compositions, like a kaleidoscope that evolves according to the hour, reflecting the mutability of what surrounds us, in constant change.

The artist feels the need to investigate in this geometry so present in the history of Art and immerses herself in her exploration to its foundations, seeking its essence, its being, its meaning. For Aida Florido, as for so many other artists before her, geometry is more than a means, it is the embodiment of the sense of the whole, because in all things can be found those geometric bases that constitute the universe and that unite us all, Regardless of time and space. Ah … and the borders.

MARÍA VERA – LUZ SILENCIOSA (SILENT LIGHT)

“There is nothing in the mind without passing through the senses”

– Aristotle

There are (and must be) as many ways to face art as persons that place themselves in front of a work of art. But, in this case, we can recommend that the right attitude to face this exposition is setting the senses above any rational judgement.

María Vera presents in the Malagenean gallery ColumnaJM and curated by Javier Bermúdez, a “Silent Light” that refers us to a stark nature, as much physically as emotionally, unloaded from ornaments and taken to an essence that is the first impression that the sensory perception leaves. The displayed pieces are arranged in a dynamic way which, along with the faint illumination, guide us through the path chosen by the artist, to submerge us in the world she tries to describe and makes us participants of the discovery that is given to us as we open our senses. This way, the emotional state that overwhelms us extends like a blanket over the logical analysis and lets the work permeate, the special illumination take us to a past world, and the nature present itself and be perceived as the basis of everything.

The room ColumnaJM in GaleríaJM is specially adequate for this perception, as thanks to its configuration and dimensions, it empowers de isolation that the work transmits, giving a sensation that the pieces themselves absorb the space and attract us irrevocably to them.

CAYETANO ROMERO – ME FALTA UNA PALABRA (I’M MISSING A WORD)

  An absent, elusive word, that is searched even by his work.

Cayetano Romero, in his exposition at La Casa Amarilla, presents himself by his absence, reflected in some of the works that he puts in front of us. He proposes a game based on the absence of responses in the face of the questions we all ask ourselves, like the need we impose ourselves of knowing the ending, knowing that what will come. But, at the same time, his work invites us to reflect on the beginning of the road, about overcoming the fear of the blank pages, of what will come.

The ceramic figures in the exposition have the words or symbols that they have accumulated in their search “tattooed” (or sewn), while they scan in balance. They transmit the sense of  course loss (or loss of reality, with sheep chasing the wolf) that happens while facing the insecurity of the road, before the next step to take.

The search, converted in the meaning of life, pushes us to consider that maybe the objective isn’t as important as the road we travel and that How is more important than Why.

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