'PAINTINGS, SIZES AND LOOKS' by Rodrigo Perez de Arce
Paintings, Sizes and Looks
AMS Marlborough Gallery, Santiago, Chile, 1997
by Rodrigo Perez de Arce
Recent paintings by Ignacio Valdes Introduced a new scale in production; to format limits easel painting, suggesting a step Toward mural.
From my perspective as an architect, the appreciation of the scale of the painting charged interest. Small works Suggest an intimate relationship while presenting a plane retailer relationship Referred to small objects They are close to standard sizes of drawing, sketch, belong to the range of portable and apprehended things, the usual things work desk and home life. They exist in a perceptual plane in Which the chromatic and textural Formal values are seen Almost without separating the senses of sight and touch.
Many of these paintings seem to benefit from the genre of portraiture: a figure, a face, occupy the center space acting as visual focus; . the composition is static, firm or Generic Perhaps portraits universals; . Referring to characters rather than definable, fuzzy people,:: sometimes indistinguishable in A Certain essential features but finally portraits In some figurative face Becomes Almost the same size as the face of the observer; That portraits are like mirrors Reflect up close.
That goes for large formats?
If in small formats to some Extent one can Recognize the movement of the painter's hand, in large formats displacement is no longer Referred to the hand but His Own body, just just thus Establishing an even more body, more Physically closer relationship Perhaps in this sense, to. sculpture Ignacio Valdes raises The Possibility of large scale as a pictorial quality conducive to Greater simplicity, using the image of the colossal structures, for example: such as the great pyramids to illustrate the idea enlarged or reduced scale need for detail processing.
With Rota ratio scale portable objects, raise the scale of the human body, Occupies a large format sizes own field of architecture, parameters, walls, ceilings or floors of the interiors space standard; neither too big nor too small. This painting raises other ways of looking and other dilemmas Regarding Their location. Look at this scale, you induce sight and walk observer body, physical movement, moving the motion of some of the paintings from the shaking His figurative paintings Earlier, the movement of the viewer in front of the box.
Within this thematic continuities and discontinuities path, jump sizes Appear to pose interesting possibilities. Other thematic contributions Issue Issue: such as the development of multiple figures watercolors in small formats, novel by the recurrence of a simultaneity of figures spaced Almost Mathematically as on an unseen grid Against the white paper background. Here, the small singular perceptual image Suggests a condition Similar to That of a catchable device, and a silent and relaxed observation.
This thematic line similar to Figure hieroglyph, as for the systematic management of multiple images in a single record, the characters start your Simultaneously Placing some insulation in the Presence of others. Do not get to know Whether They belong as a whole, or Whether casually Have to Appear eats only eleven sharing a frame, a portrait in September in the absence of other significant source Suggests a qualifying Possibility of characters as specimens, specimens prototypes Illustrative of lives, occupations, attitudes, emotions.
I did not want -for purposes of this reflección- know neither the titles of the works and Their chronological sequences. Surely I this approach guided by intuition Entirely May be Amended or Supplemented by other ways to Investigate the work of Ignacio Valdes.
The format, size, the effect of raising this pictorial Supports Possibility: to Respect the pictures speak for Themselves moving to critical reflection Instead Un certain conditions inherent to the office of the painter, Associated With The production and enjoyment of the painting, Against Which the Also explore conditions and conditions painter That in turn imposed on him, as Any Means, rules, specific limits, frameworks That Far from Being inert Also are loaded with significance.
I write from the enclosure amplisimo department workshop, bathed in dim light and interesting. So wide in plan as in height, this enclosure, place of production of These paintings, the large canvases That Welcomes Against the walls rest on Either side.
© RODRIGO PEREZ DE ARCE, London, July 1997
AMS Marlborough Gallery, Santiago, Chile, 1997
by Rodrigo Perez de Arce
Recent paintings by Ignacio Valdes Introduced a new scale in production; to format limits easel painting, suggesting a step Toward mural.
From my perspective as an architect, the appreciation of the scale of the painting charged interest. Small works Suggest an intimate relationship while presenting a plane retailer relationship Referred to small objects They are close to standard sizes of drawing, sketch, belong to the range of portable and apprehended things, the usual things work desk and home life. They exist in a perceptual plane in Which the chromatic and textural Formal values are seen Almost without separating the senses of sight and touch.
Many of these paintings seem to benefit from the genre of portraiture: a figure, a face, occupy the center space acting as visual focus; . the composition is static, firm or Generic Perhaps portraits universals; . Referring to characters rather than definable, fuzzy people,:: sometimes indistinguishable in A Certain essential features but finally portraits In some figurative face Becomes Almost the same size as the face of the observer; That portraits are like mirrors Reflect up close.
That goes for large formats?
If in small formats to some Extent one can Recognize the movement of the painter's hand, in large formats displacement is no longer Referred to the hand but His Own body, just just thus Establishing an even more body, more Physically closer relationship Perhaps in this sense, to. sculpture Ignacio Valdes raises The Possibility of large scale as a pictorial quality conducive to Greater simplicity, using the image of the colossal structures, for example: such as the great pyramids to illustrate the idea enlarged or reduced scale need for detail processing.
With Rota ratio scale portable objects, raise the scale of the human body, Occupies a large format sizes own field of architecture, parameters, walls, ceilings or floors of the interiors space standard; neither too big nor too small. This painting raises other ways of looking and other dilemmas Regarding Their location. Look at this scale, you induce sight and walk observer body, physical movement, moving the motion of some of the paintings from the shaking His figurative paintings Earlier, the movement of the viewer in front of the box.
Within this thematic continuities and discontinuities path, jump sizes Appear to pose interesting possibilities. Other thematic contributions Issue Issue: such as the development of multiple figures watercolors in small formats, novel by the recurrence of a simultaneity of figures spaced Almost Mathematically as on an unseen grid Against the white paper background. Here, the small singular perceptual image Suggests a condition Similar to That of a catchable device, and a silent and relaxed observation.
This thematic line similar to Figure hieroglyph, as for the systematic management of multiple images in a single record, the characters start your Simultaneously Placing some insulation in the Presence of others. Do not get to know Whether They belong as a whole, or Whether casually Have to Appear eats only eleven sharing a frame, a portrait in September in the absence of other significant source Suggests a qualifying Possibility of characters as specimens, specimens prototypes Illustrative of lives, occupations, attitudes, emotions.
I did not want -for purposes of this reflección- know neither the titles of the works and Their chronological sequences. Surely I this approach guided by intuition Entirely May be Amended or Supplemented by other ways to Investigate the work of Ignacio Valdes.
The format, size, the effect of raising this pictorial Supports Possibility: to Respect the pictures speak for Themselves moving to critical reflection Instead Un certain conditions inherent to the office of the painter, Associated With The production and enjoyment of the painting, Against Which the Also explore conditions and conditions painter That in turn imposed on him, as Any Means, rules, specific limits, frameworks That Far from Being inert Also are loaded with significance.
I write from the enclosure amplisimo department workshop, bathed in dim light and interesting. So wide in plan as in height, this enclosure, place of production of These paintings, the large canvases That Welcomes Against the walls rest on Either side.
© RODRIGO PEREZ DE ARCE, London, July 1997