UNTIL SUNDAY 12/10
VAT. Guillem de Castro, 118
That geometric language is a thing for men has as little logic as blue being a thing for children.. Now those absurd corsets that associate prestige are beginning to break - in this case, the “mathematical”—to the realm of the masculine. But in the seventies, when women were considered minors in perpetuity, Soledad Seville He was already playing with lines and plots while elbowing away those patriarchal schemes. “I haven't heard that many times when it seems like a man did it.”, said the Sevillian artist, remembering the comments about her work in those times. Hoy, recognized and admired, the Valencian artist returns home to present, chronologically, sixty years of career that has run with coherence. She says she is convinced that all her pieces have been a logical consequence of the previous ones., and?, Despite everything, has never repeated models or patterns. He has always found something new while searching for beauty and excitement. Using very specific language, based on purity of line and color, and in the construction of shapes from geometric modules, on large format. Space, depth and vibration in a big way.
The first part of the tour focuses on the geometric abstraction of his early works., transparent or colored methacrylate pieces, and graphic work that generates a certain spatial illusion by superimposing frames with acetate sheets. In Boston he drew on rolls of Kraft paper up to twelve meters long., and back to Spain, would create two of his most emblematic series: Las Meninas (1982) y Alhambras (1984-86), and very important facilities. Since the early eighties, from his stay in the United States, The Valencian expanded her field of action to facilities and became a pioneer of the genre in the Spanish State. Total, It has more than one hundred installations and interventions, who have not been able to travel to IVAM due to space issues, but we can see Fund you origo (1986), made with black light, water and cotton threads. and a site specific very subtle designed for the exhibition with colored threads placed vertically in the museum lobby.
In the nineties his brushstrokes became short and nervous, offering a certain three-dimensional sensation on gigantic paintings of up to eight meters. Later they acquired the shape of a tiny leaf, but they were always at the service of repetition and plot. The tour ends with a series created specifically for this retrospective, Waiting for Sempere, where Seville pays tribute to one of its first references with the pure line of the pencil, ink or marker, abandoning oneself to the imperfection of the raised hand, with its failures, ripples and excess ink. The IVAM has a new director led by one of the most renowned contemporary Valencian artists. S.M.
