“Everything transitory is but an image”, Goethe.
Catalina Prado opens the 2018 season of Sala Gasco with Paisajes Transitorios, a pictorial project that turns visitors into a member of an expedition of an unexplored territory, where reality is mixed with those that we want to retain and in advance is merged with a prepared foil and a colorful image at which the sublimated image whose are part are given up. Ephemeral travelers of an endless history that restarts every time that this reflective stage comes to life. This happens systematically in a piece body that moves its characters to a fevered pictorial spaces.
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Surprise illustrations that unexpectedly are covered with this dazzling patina or golden and silver spectral halo, in which forced preciosity inserts “these main characters out of place”; in a spot where are not aligned with routine or subjected by work, but facing a landscape where the color saturation and that luminescent taint extend the formal and aesthetic boundaries of a parallel world, different from they belong. That creates, apart from the logic transfer, a tense phenomenon occurred within a phantom mirage, where that courtship of timeless beings that Mario Fonseca mentioned roams: “It could also be that they are simultaneous beings at the moment that they were painted, that they are present and not past or future anymore”. Permanent inhabitants of a limbo between bucolic and urban, between common and ephemeral, but ambiguous enough to get confused with ourselves.
Even so, about the ownership or intervention of a landscape, the mischievous insertion or the remains in its original place, it’s appropriate to emphasize the recurrent concern of the artist for her materials, how color gives the guideline to the rest of the elements, in a sort of natural frame, giving bright a prominence that at being present it creates a dreamlike territoriality that homogenizes the idea of counterpoint, both for stage and for those that play that false status of transplant patient. Although, in practice, this condition is just momentary and it can be modified by that surrounding aura. Adding a change in the permeability that ends up being the key in this series of Catalina Prado (1970), with characters that are merged or camouflaged inside this volatile habitability that symbiotically shelters them.
That’s why Paisajes Transitorios is an opportunity to see how 24 pieces give an account of identical years of an artist’s path that persists in search, making painting a language that lets her express herself with the necessary fluency to show that nothing is what it seems. Of course, always with the idea of create a roving landscape, that coordinates the most part of possible stagings or visions, since depending on the place from every visitor is placed is how the visitor will appreciate this constant change to a landscape that is in advance to the possibility of disappear, not without arousing the curiosity of that member of the audience that is infiltrated in an impermanence marked by the desire to catch the uncertain, represented in this crossover of reflecting mirages, in which depending on light and angle, opens a range of dimensional possibilities where finally not only its natural components are emerged and submersed, but those who insist in lying side by side to see what kind of mystery the elusive frame offers.
It can be deduced that this proposal replies to the purpose of suspending the space-time because it confers a distinctive feature on that Catalina Prado has been developing, even in Pintura de fondo (Espora Gallery, 2017), where she has already implied part of this beaming chromatic blinking. Something commented by herself: “My paintings with so much bright and so many refractile elements, they are never seen on the same way, always with a different point of view”. Which meant to her to adapt not only at using a complex material as folia or old and silver leaf, but recognize that light disrupt totally the perspective of the piece. A casual mishap that could have been a severe setback not without surprises, particularly because when emphasizing the use of light, making it fragile or transitory disrupting the reality that redefines the ground of possible and most part it is reflected in De compras, Paisaje flotante, Tarde soleada, Fin de la Jornada and Tarde de verano, just to take some examples.
Otherwise, to make sense to a fact or a place implies that the moments get impregnated, permeated and ended up accepting the procedures and techniques that at last give body to the piece and by its consistence, it becomes unavoidable. Above all in that capture that leads it into temptation or desperate action of snapping selfies. Miraculous fishing, that as it is logical, in case that someone is consonant with this water mirror in which is reflected our common desires and fears. However, Catalina Prado, instead of a camera she uses a palette, making use of memory as collage to make that ethereal overcomes the temporary and it stays materialized in an eternal landscape of real unreality.