Until October 23th, 2021.
Tuesday to Friday from 12 to 3 pm and 4 to 7 pm
Saturday from 12 to 3 pm
Please schedule an appointment
Conversation between the artist and Edgar Cobián
October 20th, 7pm CST
Limited Access with reservation (RSVP firstname.lastname@example.org) + IG Live
Un lugar para sí misma
Lucía Vidales at Galería Karen Huber
Lucía Vidales represents the confirmation that metamorphosis stalks us, is always stalking us, crowding around us with its interference of form and light. Lucía’s work is a colorful song to metamorphosis, a poem of forms that gushes volumes or clarities, a constant abundance of honeys that flow from an inexorable essence of what lies there in the work. Because Lucía Vidales’s art seems to foster a river, a bubbling stream that guides landscapes of natures of all kinds as well as endless vital concerns: sizzling with festive light and song, even when funereal. In the work there is a creative displacement that includes all the times lived and, willingly or not, those that must be left to the future: a place for herself (her work, Lucía herself, and La Malinche, her main topic, I mean). As an artistic creator, owner of an outstanding intuition and technique, Lucía is an artist likewise concerned with academic knowledge and with the development of painting across the centuries. This flow belonging to the work also implies, at least from a certain perspective, a mediation, a placing of Lucía between the impression generated by the content, the examples from the history of painting, and the final work that will be presented before the viewers’ eyes. The mediating function, generous and innocent, which could well define all artistic creation, in the case of Lucía Vidales is even more evident because she always engages with the enabling function of dialogues: it is both she and the work in continuous contact, plus those eyes looking at them. Provoking a stream of laughter and tears, clots and vitality, Vidales’s painting connects the separated and integrates the broken, scattered members. Lucía is at the service of her work, and has feverishly surrendered herself to a creation whose formal and thematic changes communicate with each other in the same way that her pieces are inserted, since with one placed next to the other they all converse, affirm, deny, and are expressed with the force of a brush that does not seem to have any limits. Nevertheless, this is not entirely true because Lucía is aware of and fascinated with limits, with the very materiality of painting. From the references that the canvas itself establishes, the voids that mediate the abyss of the non-story, to the materials, mysterious raw materials full of life of their own, unfathomable and useful from their irrevocable, fickle, stark presence. It is like traversing a breach that surrounds the canvas, following the edges, and that also borders the frame, the very limit of what has been created.
And either by a body that is scattered in its parts, by a severed arm or leg, which remind us of the pictorial horror of the medical saints Cosmas and Damian, or by the elusive figure of a woman, whose flow and metamorphosis evoke the changing language and the various faces of the elusive Malinche, Vidales’s work connects and disconnects, unites, makes bridges between what is deformed and what has form, between violence and play, death and the vitality of color, and not simply content with that, she gives herself the luxury of traversing physically and symbolically the reaches of the world, the wide world of color and shape, in order finally to inhabit the intimacy of her canvases, always intimacy.
For all that—and for all that remains inexpressible—to admire Lucía Vidales’s work is to navigate a river linking the whole and the part, the flow of the brushstroke and the void of the texture, Mexico’s national history and the world’s palpitations, contemporary painting and the tradition that contains us at the same time. One has to immerse oneself, led by the guiding hand of the displacements in the ages, the shape, and the color, invoked by the vast and extraordinary work of Lucía Vidales Lojero.
–Víctor Manuel Medina Cervantes
Translated by Byron Davies