Collage sobre tabla | 92 x 73 cm[/caption]
Origami, collages or paper cut-outs
are definitions used for the subsequent works by the artist as she isolated herself in her workshop in Bilbao (1991). However conceptually and technically these initial proposals would be closer to the cut papers of Matisse than the accumulation and simultaneity of the cubist or Dadaist collages or classic Origami, as the elements of folded paper are rather scarce, while the creation of a space that accentuates he character level appears as the prominent factor; there is no highlight or depth, just surface, which Clement Greenberg believed belonged to the modern pictorial world.
After a period of sculptural experiments, the natural tendency toward flat shapes makes her consider a return to painting by using papers and trimmed plastics, sometimes nailed to the wood with staples, which allowed her to compare large very expressive chromatically-homogeneous areas – each particular colour carries within itself a certain atmosphere- and to delve into the debate surrounding the illusionist representation and flatness.
Following the discovery of a technique better suited to her goals, she begins to work on a series of paintings, thematically somewhere between fable and parable, or fantasy and metaphor. Working with a few simple shapes and ambiguous contents the characters live in a trance, on the edge, as they tumble, rush or hang upside down, but, like in children’s stories – the source of these images – the treatment of the apparent fiction softens the event and brings an almost poetic tone.
Contemplación | 1991 | Collage sobre tabla | 82 x 63 cm
El despeñado |1991 | Collage sobre tabla | 35 x 26 cm
Mi perro en la calle, yo en mi casa y los dos en el infierno | 1991 | Collage sobre tabla