Menards Retaining Wall

words on paper.

Dear readers.

"Words on paper" is the title chosen for the exhibition on display in the hall of the cultural center Castalia Iuris (Plaza Cardona Vives, 10) and whose author is responsible for Sales Mery painter (Valencia - 1970), Doctor of Fine Arts (cum laude) from the Faculty of Fine Arts of San Carlos de Valencia and also winner of the Art Club V Paul Ricard in its edition with the play "Burning Conscience."

The exhibition offers us on this occasion M. Sales, is surely a sign of great visual lyricism and delicacy, his pictures, painted on different formats (mostly small) have been made with very good bill and a marked finesse of the technical treatments. The reasons recreate pieces of paper scattered to the wind, which may refer in some way, to the almost "romantic" act of writing on paper, in an age where e-mail and cyber communication, especially in the first world, eclipses or move this action, which is limited to curb increasingly small and unique artistic discipline of the writer. The theme could refer to weak fundamentals, ideas, views and values \u200b\u200bof virtue, which now charges its most poor of the modern era, which dispensed with, to stand as common agora and amplified by the media, vulgarity, triviality of trials and tests and poor education that we see manifested in words and deeds of people, even those that somehow found linked to the sublime art industry, both as creators, critics, or directing the cultural policies of the various areas.

Any interpretation or reading in this exhibition of Mery Sale is not only possible but welcomed, because talking about this ancient and ductile media, such as paper, refer to the object since its invention by Ts'ai Lun, in the year 105 a. C., has helped the man as loyal and silent witness, to record on his "body", from the most virtuous pages of its history as the most shameful and immoral, which always perennial witness to the memory of the past and warn the experience of this. Pity the little love of reading that now have some, returning to make the same mistakes of the past.

"Words on paper" is one of those exhibitions that allow us to enjoy, not just a staging estimable, but also a broad interpretation of its proposal discourse. And even when the subject seems exhausted its wide range of composition, we can always find a new reading in each box that invites us to reflect on the objective reality that is with us. Congratulations to Meryl

Sales for this exhibition, which ends on November 3 next day and I hope will be visited by the broad public of our city.

to the next installment. Amaury Suárez

Patron Cosmo Rita Shaker Recipe Fridays

"Icons", a revelation for our eyes ...

Dear Readers:

On Tuesday October 19 was inaugurated with great success of public assistance, in the main hall of the Provincial Cultural Centre "The Classroom "(located at number 1 in the square of the same name) exposure entitled "Icons" (although the title does not appear reflected in the catalog) by artist Rachel A. Lara (Murcia 1975).

Discuss the work of Rachel A. Lara I find it relatively easy, as is someone with whom I have a very close professional relationship and is an artist I respect and admire for a long time, not only by the unquestionable quality of its buildings but by the rigor and seriousness always prints in the processes of creation and seek new proposals. It gives me a pleasure to comment on this exhibition entitled "Icons" and that the author gives us after nearly two years of research and hard work.

current work of Rachel A. Lara, serves a delicious harmonic result of the relationship between aspects of form and content, which makes no doubt, in a unique and very interesting proposal plastic. The disparate influences seen in its original figuration, such as Cubist distortion, expressed a sense of visual polyangular and perspectives of the object, represented with a photo-realistic naturalism next treatment, which point and cause a singular expression that the Authority issued elegant and very consistent with his proposal speech, he invites us to reflect on those things or people we think we know, but in reality only know appearances.

From the conceptual point of view, the work of Rachel A. Lara, we proposed to recognize in each of his paintings, characters are a reference pattern or icon of any kind, and more or less influence on us, we link or always refer to their actions, status, or activity covered by the media relevant to making or has made in the social, political, cultural or any other, hence we can "discover" in his works, known singers, actors, politicians, popular television, universal icons of painting or others that are a benchmark in of his inner circle (but no less important) that represents the friends, all of whom expressed by the artist, from the absolute distance and probity in value judgments, it is not part of their interest, or target his speech, taking sides with any of them, but describe it as the author sees it in its formal aspects most significant, regardless of the current role that they hold or have held, as referents of moral, artistic, social and political rights of our reality. Hence we can say that far from being this simple, traditional displays of portraits of "famous" Icons have served as motivation Lara, do not constitute a landmark in praise of virtue, beauty or model (as has traditionally been treated in this genre picture) recreated but a selection of people and personalities, who have a greater or lesser extent a substantial significance for we established the same way, a certain link, affinity or empathy, whatever their virtues, turning them into reality as we know, or think we know.

is significant and astonishing in this work, as the intentional distortion in the drawing of the portraits, we do not prevent the easy identification of the character, image started to "reconstruct" from our minds, to be finally sorted and restored in our mind, all thanks to the use of the quality of memory or memory, which in turn tells us and shows, the careless attention we pay to detail, thanks to the general perception we have to observe things and people, and causes as a rule, hold trials, analysis and evaluations very superficial and sometimes unfair or inaccurate both phenomena, things and people around us.

With a polished technical treatment, both the drawing and color, the work of Lara, is undoubtedly one invites us to reflect on our relations with the environment and people, because it is the same view, to observe. Only those who can drink the essence and the truly momentous events, things and people, not take into account the wrapping of their appearances, and so analyzes, evaluates and gives its opinion weighted truly revealing important.

The exhibition "Icons", is one of those samples where the good work, and the best thinking of speech come together in a fascinating series of tables, where the plastic result invites us to discover a new way of thinking not only the portrait as a genre, but also portrayed as a reason for inspiration. The symbol, with great strength and interest to support the concept, but never to replace the object, the work provides a unique harmony of large scope in contemplation and delight in its intention of discourse, it is certainly something very unusual in the plastic today, precisely the reason being that, to make it a revelation to our eyes. I am convinced that this exhibition will be such to remember for a long period of time, not only for its technical quality, but also and primarily for the originality of your proposal.

Raquel A. Lara with this exhibition, has placed a strip of very high quality and proposed in the plastic stage of our city, and I hope that this will now serve as a stimulus to us all, that after this magnificent exhibition, also come from other artists, who worried about the same goals of quality, help to raise the technical level and creativity of our city, thus both art and ourselves, we will be the sole and maximum benefit from it.

to the next installment. Amaury Suárez

Stream Nadia Bjorlin Songs Reach Out To You

Connections ... despite what disjointed. Family portraits

Dear Readers:

Once again the exhibition hall of the Municipal Cultural Center of our city, like all know is located in Calle Antonio Maura, 4 surprises us with a very good exhibition of paintings titled "Connections" offers the artist Antonia Gallardo "To" Gallardo.

The Catalan artist at this time gives us a set of works (mostly abstract) of great beauty and simplicity of colors, where the acid tones, pastel and white broken suggestive give color to organic compositions where the use of collage, stencils and spontaneity of the stain, an elegant living in harmony. Their works allow us to enjoy a variety of solutions that the painter used with skill and taste, from the strong graphing on the paint, where the visual duality seeks to confuse the eye with the volumes of the threads of wool, even the resources of gestures spot seeking refuge in the inheritance of the typical action of abstract expressionism.

To Gallardo uses Textile as volume and texture, and above all as the main expressive element of his work, thus the patchwork, wool and hemp yarns, textile prints and other media emphasize a language that although with great weight decorative aesthetic, not empty, or simple in its intention of discourse. Landscape compositions with strong suggestions that allow us to "discover" the variety of reason that goes from the panoramic perception, to the subtle, delicate and detailed vision of an anecdotal nature.

Antonia Gallardo's work, is one of those results is only possible through experimentation, combining and constant search for new ways to recreate the beauty and speeches in the art. Speeches these fortunately, at the margins and well above the wicked and selfish intentions that have been doing some long, on matters subject to linguistic identity and feelings of nationalities in some areas of this country. And I say this because to my surprise in the exhibition, we find a modest, lonely folio as a catalog or information document that talked about the author and his work, written exclusively in Catalan, the latter serving as an introduction to the broad and diverse public visiting the exhibition. And is not this curious detail that I remember these aberrant aspects of politics and I do not seem to get, but also do not see any success, or usefulness of it, first, because the exhibition is displayed out of town where we all know the great weight, size and preference is attributed to the Catalan language, above all other officers as it so thanks to the support of policies design language that the authorities of that community, region, province or nation, here fortunately, the reality is quite different (at least so far) here we can speak the language seem to us more useful and convenient to communicate, be it English or Valencian, without any kind of complex, without suffering the slightest rejection and above all, without free choice that we all speak in the language we deem appropriate, we linked to any specific sense of national identity at the expense of another. And second, because I'm sure that if the exposure been shown for example in speaking country English, the author, or institution responsible for promoting the exhibition, look for ways (perhaps as simple as that used amateur now with the page) to write his "Presentació" in the language of William Shakespeare, because not only is Basic common sense and good education, but also a good source of "marketing" that favors the promotion, and thus the sale (by the way, this last word in wide use today, is an anglicized incorporated into English for its enrichment not responding to anything evil, or are allergic to write or pronounce it).

Fortunately actions speak louder and not good intentions, and in this case, and thanks to the good quality of works exhibited in this exhibition of the Catalan artist Antonia Gallardo, we all win because it has imposed the sublime language of art and painting, which knows no language , or nations, nor of intellectual myopia still men who lead us from the institutions. The goodness and coexistence in the language of art is infinite, and is a valuable resource for communication, which allows the most authentic and universal "connections" between all people, and no matter where we are, or where we find born.

Congratulations on the exhibition and hope that a particular like this, I see more as a promotional strategy and error business, not hinder us from enjoying the beautiful connections that it has taken account of the artist.

to the next installment. Amaury Suárez

I Have A Red Blotchy Face

Dear Readers: Last Thursday

day 7 was inaugurated the exhibition of paintings by Paco Dalmau (Villa Real - 1978) entitled "polyptychs: Family Portraits" in the room from the street piggy bank Bancaja middle 82. Author as stated in the catalog of the exhibition, has academic training.

Although the sample, it provides a sense of order, visually clean and harmony exhibition, linked directly to the invoice for the finished works, (on aspects of the assembly) and the concept of spatial distribution in the room, which allows us to enjoy a pleasant and elegant environment to visit , that is somewhat depleted, when we notice the technical details or craft that have been used in carrying out the same, where we can clearly see some aspects deficiency directly related to the design and color with , which is very worrying case of a figurative work, very close in intent to a photorealistic naturalism. And is that for each language, there a specific mode or manner of conduct. The maturity of an artist can be measured when it is considered and evaluated in an objective, technical and intellectual possibilities for action to create, being aware of both their virtues and their limitations, because a thing is what you want to do , and quite another to what you can do, being aware of it, is a symptom of rigor, maturity and above all honesty, which will be very useful if you want to highlight as an individual within the art world. Thus, formally, when want to make a play, where the proposal of the image lies in a photorealistic fidelity language, the implementation of both the drawing as color, it should be fine and without any formal error, (2 example images) of Otherwise, the result is poor and directly threaten its quality. Another very different thing is that there is a clear intention to recreate, style or distort the object for a particular speech, in which case, these issues would be obscured and would not be analyzed in the same way, which undoubtedly is not the present case. Coupled with this is to say, not only matters how the work is done, but also and perhaps most important today is the speech, idea or concept that seeks to contribute to it.

And in this exhibition is not only the shortcomings of the trade aspects which in my opinion detract from the quality of the sample, as I said before, the idea or concept discourse accompanying a work is an aspect of utmost importance for the interest by, it can wake up in the broad public, and in the case of this exhibition, there is no renewal or iterative idea of \u200b\u200bportraiture. Cantinflesca

How the author uses to explain his proposal in the catalog, speaks of a desire to be one thing, it really is not supported with the result, the arguments of the speech is really confusing, vague and disconnected, and as those others, that somehow relates to the use of fragmentation "grid" of the compositions of the works, something that is simple and we are also particularly unoriginal for using this design has had in the past, by other artists in various stages of art and that unlike Dalmau, they have managed to develop more skill, originality and daring in his submission.

One of the most famous and clear examples in our time where we see the use of the grid as a formal proposal related to the speech of the play, is found in the collage and prints by David Hockney (example image ) in the late 70's and early 80's giving a new thrust of the proposal, thanks to innovative techniques such as paper pulp, polaroid photography, lithographs fractals, photocopying, etc faxed images. Hockney takes as works concerning ancient and modern masters, portraits, self portraits, works on the outlook and the multiplicity of viewing angles. We also find this resource grid in the works of the young Swiss photographer Cornelia Hediger ( sample picture) in its series "Doppelgänger" where the artist alludes to ghostly duality of being a clear example of concept art, or the magnificent and recent works of one of the great masters of American Hyperrealism as Chuck Close ( example image) where in his later works we see how it uses the grid in a sense close to the fragmentation of the pixel in the digital image to achieve an amazing photo realistic effect.

Considering only these three examples (many more) I can say only that the exposure of Paco Dalmau although some complimentary values \u200b\u200bthat I quoted earlier and which could undoubtedly establish itself as a good game, no longer a clear example of the need should always be the operator (belonging this to any branch linked to the image) to study and research on what want to do in art, and especially to what has been done in order to recreate within their means a different approach. The search for the information and analysis that make it serene, makes solid culture as vital and necessary ingredient to measure the professional quality of a creator, since it is very disappointing, considering that the novelty of having " invented the light bulb, then someone comes and tells us that there is already more than 130 years, thanks to a man named Thomas Edison. Until next

delivery. Amaury Suárez