Text by Rosa Queralt
Objectual forms and figures
bareness and silence define the next works by Idoia Montón, which continue opening up perspectives and possibilities that contribute to essentialising expression and stripping the images of anecdotes or sentimental adherences. And it is in these works where the models she uses as a starting point are progressively less detectable as are the allusions to defined objectives. The desire to simplify the composition leads her away from the intense colour of other periods- the role of collage which maintains the original tone of the stuck on material is to offer practically the only bit of colour. This group of work points to an extreme synthesis due to the conciseness, the quick short sometimes fleeting forms, the closeness to the idea of emptiness and its ambiguous echoes, apart from continuing a sort of veiled and elliptical insinuation found in previous series of work.
While at times they seem to invoke that silence that art requires when it wants to unveil the mystery that certain works emanate, the energy tends to take shape, although it withdraws rather than expanding- there are no amorphous energies- the forms are always embodiments of energy. Paradoxically its strength is in the economy of medium, in the determination to use minimum materiality to reconstruct appearances, more than structures or signs. And they question, on the other hand, antagonistic categories like presence and absence, permanence and transformation, silence and resonance. Another change of direction can be seen on the horizon.