Cuerpo de esta sombra
Lucía Vidales
Galería Alterna
Prado Norte 550, Lomas de Chapultepec
Miguel Hidalgo 11000, CDMX
February 5 – April 6, 2019
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Galería Alterna
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Painting is a mental excercise and the mental is divine; hence, what we observe is only an impossible limit of saying. The spiritual dimensions linked to a mythological conception of humanity and to poetry articulate the proposal of Lucía Vidales (Mexico City, 1986) that transcends the possible suggested narratives of her paintings. The shadows of Lucia’s bodies are the shadow of the history of painting itself; its formal and phenomenological features, its color, texture and expression, are linked to the body dimension.
In this way, Lucia’s painting is closer to the iconoclasts where the presence of God is manifested, more than to abstraction or caricature: it is spectral, it is a shadow of truth: collective and social memories that are reflected in the construction of color, of tonalities and the process of making it also to paint, unpaint.
That is why Vidales blurs the dogmatic frontier between painting and picture that abstract expressionism had disarticulated in search of an imperialist language and that Vidales recovers through the weight of plasticity and creating image without show, tearing apart the modern narrative articulated from a psychological complexity to anchor metaphysical positions by generating a representation of the monstrous that can be everything.
— Octavio Avendaño Trujillo
When talking to Lucia Vidales about painting, a conversation about time arises. For the imagination that navigates this conversation, everything is in some way subject to the temporal dilemma, to an inexhaustible source of stories and sedimentations that accompany the eye of the painting. It is difficult to talk about this time: from it, comes a conduit between corpses and apparitions, but there is also the desire to treat the world, art, as a living, or living body, at the mercy of circulatory and digestive systems. In this time, there is the cruelest moment and the only form of consolation, the path of erosion and accumulation; the origin of stories about humans hungry for ghosts and about war between all parts of all bodies.
This time, which is also the passage of painting and its forces, takes place in dimensions that are both excessive and extremely discrete: compact mist labyrinths, minute and instantaneous fires that consume only the cigarette and the remaining light of bodies to which Lucia, they must miss everything, except the shadow.
— Christian Camacho |
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