Geometry, color and movement. From the controlled and thoughtful abstractionism that emerges spontaneously from the brush strokes of Carmen Mayol, an artistic imaginary that evolves on the basis of metal engraving from pure and limpid geometry is born: the line, its aesthetic and derivatives, towards the formulation of the circumference as evocative element: the beginning of a cycle that may, or may not, have an end.
It manifests a patent struggle, a waste of transparencies, layers and intensity on a surface that recognizes itself as support of an experimental and intuitive work. In this way the Chilean artists Carmen Mayol looks into her inner being and materializes it, makes it a reality. Thus, between color leaks forms appear, the physiognomy of a body that turns out binding to the eye. As if the pieces were united somewhere or wanted to become a message in themselves, once the contemplation is added to its function and deepens in pictorial interpretations, certain bicycle wheels appear. Some concrete evocations of a real world that hides behind argumentative layers, perhaps sensitive, perhaps of refugee.
In a narrow sense, it reveals what the artist describes as “the search and necessity of closing situations, personal experiences, like having gone live abroad”. It is thus, finding yourself in an alien land, stranger in a foreign land that offers part of its characteristic to welcome you and, however, it’s discovered as a mystery, an unheard of path to follow by conviction, often without certainties.
Particularly, we refer to Dallas, Texas. Here Carmen spent a good amount of time. Never unaware of the artistic process and always discovering new ways of materializing a sensitive knowledge, the artist faced to the unknown circumstance of moving away her culture. “I found myself in an alien world regarding culture and custom”, says, making reference to how she visualizes this process: a circular period and in movement, a transition that doesn’t know the routes, but acquires them on the path.
Thus, the artist comments that other pieces of her work were bound to an unresolved maternity. That’s why the nods of color assist to draft an idea, to reinforce the appearance of close or open circles that reflect this idea of the permanent search, the eternal transition.
Today she’s busy with the technique, of the rigor that demands a clean and authentic plastic work, looks for prolixity, of what delivers her the satisfaction that defines the purity of the technique management, the conscious application of color playing with geometry, creating spaces and movement inside the pieces that frame the work. Thus, the translation of this inner search, the necessity of closing cycles and defining guidelines within her life it’s reflected in every piece eloquently and emphatically.