III BIENAL DE ARTE MIAB - Madeira  - June 15th - July st - Opening Night 15th June, 2010

Website:  

 http://www.galeriaomaso.com/links/BIENAL-MADEIRA/bienal.htm

FABA The value of the imagination

The color, the volume and the textures are the main protagonists in the work of the artist FABA. With these three elements it represents Faba paintings as well as her sculptural work. We find gestural lines of chromatic harmony in her brushstrokes as in her molds. Faba creates pieces that break borders as they speak in a form that we can understand and live art, utilizing the painting and the sculpture as an expression of feelings and a way of perceiving the world. FABA treats her work with bravery. Creating mysterious, original, impressive, unknown, and unusual pieces. At the same time, they all perceive a sensation of elegance and grace, that makes them unmistakable. A sample of the imagination in movement, shades of intense colors and electrifying contours. Forms and full plans of spontaneity, smoothness and brilliant waves. A work that is nourished by the fire of the light and color, treating it with passion, emotions and temperament. In which we can discover a loaded background of reminiscences of mosaics and crafts. Faba painting surprises us with a full abstraction of light, color and volume. The images represented are inflamed thanks to the layers of color and the objects incorporated. Energy beatings brushstrokes that compose full pieces of rhythm and musicality. Enigmatic series and repetitions of highly symbolic degree that invite us to a trip through abstract, biological or astronomical forms. A full almost hypnotic rhythm of imbalances that creates a species of tense calm (calm tense), and hides a reflexive will. Faba paintings that have the capacity to intrigue us, with her thick oil lines that reveal the general sense naif of her work. Vibrant textures influenced by the cities of Seville, Madrid and Washington, where she grew up and the artist was formed. Her pictorial work is a hybrid between painting and sculpture of base-relief, where each creation is seen completed by the juxtaposition of objects and material, rich oils in oils and pigments accentuated with brilliantine, flora and sand. Faba last works in sculpture are the result of a coherent evolution in her work. If her painting has always been characterized for a conception of materialistic, why not to take a step forward to the three dimensions. Faba sculptures that show a lot of paint, just like her paintings speak with the relief. Faba models her painting and draws her sculptures. The sculptures of FABA are shaped, cooked and painted by hand with reverberant colors, creating some figures, that form a way of caricature, they portray the current world. Just like her paintings, we see as in her sculptural work also explores with the dimensions and textures. Busts or simply busts of necks stylized that transport us to an ambiguous and multiracial world, always with a touch of humor. Representations of a various group stereotyped of personages as the prostitutes, bullfighters, Indian, military, African princes... The work of FABA is, in all the senses, a brave bet by her imagination, being set apart of a realistic vision. A work where we find homages and references, allusions and winks to different artists and to the personal life of the author.

 Oscar García García Licenciado en Historia del Arte y Especialista en Valoraciones Artísticas

Polyphonic Abandon in the Work of Faba  By D.F.Colman )

 Fired by an elemental understanding of the flow of the unconscious, Faba’s polyphonic paintings have a thoroughgoing sense of elegance and grace. In her Abstraction Series Faba activates the picture plane with just the barest flicker of an internalised intensity, a slow burn of recognition ignites the imagery due to the artist’s incremental (and often extremely gingerly) layering of her brush strokes and incorporated objects. Once applied in what appears to be a mental state of nuance control the artist’s colors and febrile contours take shape within Faba's worlds in which horizons, edges and the unseen world in general is manipulated in order to get our imaginations moving. The result is electrifying. Art, like life, rests within its details and Faba has a strong grasp of the importance of applying contrasts in her work in order to jump-start the imagination of the beholder.    In works such as Abstraction Series #1 where the saturated picture plane is filled with surges of energetic and involute brush strokes the artist has produced an imagistic rendering of dots and striation strewn against an undifferentiated color filled background. The renderings of shapes and outlines which might generally be related to the retinal recognition of objects in Faba’s work might be seen as equivalent to Sartre's imaginative consciousness. As he states in his The Psychology of the Imagination, it presents itself as a spontaneity which produces and holds on to the object." By contrast, Faba’s diffused background on which rests her slightly undulating, patterns may be seen as equivalent with Sartre's "perceptual consciousness" in which it is characterized as appear[ing] to itself as passive." The interplay between both forms of knowingness produces spontaneity which saturates Faba’s Abstract Series with a soft and bright intensity.    Faba charges her work with intimations of play and poignant longing for time passing. There is a metaphysical sense of anxiety that pervades this moody work in which implied oppositions are put into play. The suggestion of eternal recurrence, so valorised by Nietzsche in his "Ecce Homo", seems particularly noteworthy in this work. Here the affirmation of passing away and destroying and the implication of the unconditional and infinitely repeated cyclical course of all things pervades this imagistic painting. In Abstract Series, what is perhaps her most enigmatic work, Faba's attempts to conflate the space of representation with that mysterious non-mimetic "other space" assigned to the mystery of looking itself. The role of a collective unseen, therefore, is played against that which is demarcated and de notated. A slippage of yet complementary viewpoints predominates in these remarkable works as a quality which Gombrich calls "perceptual inter-subjectivity" prevails.    This inter-subjective bias, (as Merleau-Ponty describes it) means that each and every viewer possesses an inner insistence (against all logic) on the validity of his view of the world from his particular vantage point. There is an essential human obligation, Merleau-Ponty continues, that is felt along with every perception. This is the unstated understanding among all prescient beings that it isn’t our subjective interests that determines what is perceived but a compelling quality of the world that engages us in a particular manner, at a particular here and a particular now. I am suggesting that Faba's finest efforts reach out to the viewer and become compelling because these works re-instate in some subtle way the perceptual bias which links us all on a collective level. The results are mesmerizing, fresh and unassailably original. Faba’s work insists on a radical conflation of front, mid and background planes as it engages the eye in forms that recall abstract, biologic, as well as astronomical notations. An elemental staccato brush-strokes gives way to the pulsations of pure energetic bodily sensations that seem to stem from a trance state of automatism. Finally, Faba’s work allows the inter-subjective bias to disintegrate within a radiantly internal world of dream and rapture.    Faba’s paintings are polyphonic because, as a word suggests, there is a musicality in the way she conflates different readings of an inter-subjective apprehension of imaginary, real and symbolic levels in her works. The abandonment of the artist to the exigencies of art-making at its highest levels is also evident in her works: how otherwise could an artist persuade us so effectively through her visual efforts of Nietzsche's brave contention: "I do not posit "appearance" in opposition to "reality, but, on the contrary, take appearance as that reality which resists transformation into an imaginative "world of truth."    D.F. Colman is a Manhattan-based writer and art historian. 

Oriente & Occidente Gestión Cultural

comienza la temporada expositiva inaugurando en la Galeria O+O la muestra de cinco artistas: Monika Grygier, Faba,   Kensaku Shioya,   Francisco Urbano y Fumiko Nakajima.

Como es habitual en las exposiciones colectivas organizadas por O+O, encontramos todo un abanico de propuestas artísticas realizadas por un grupo multicultural y cosmopolita. Donde el intercambio cultural encaminado hacia la difusión del arte y la cultura reúne en Valencia, de una manera u otra, inquietudes españolas, polacas, japonesas, francesas y portuguesas.

La exposición colectiva está compuesta por fotografías, pinturas y grabados donde las texturas, el color y las formas son los protagonistas y encontramos pinceladas gestuales y armonía cromática. Piezas que rompen fronteras y dialogan entre oriente y occidente, una forma de entender y vivir el arte en un mundo común.

 Del 19 de septiembre al 19 de octubre se podrá visitar una exposición en la que las obras muestran una peculiar forma de ver el paisaje urbano a vista de pájaro, con las pinturas de Monika Grygier como protagonistas;

la relación en esas ciudades y sus habitantes bajo la oscuridad de la noche, gracias al objetivo de Kensaku Shioya;

los trabajos de abstracción llenos de luz, color y volumen con los que nos sorprende la artista Faba

el mundo de las musas y los grandes maestros de la pintura desde la óptica pictórica del artista portugués Francisco Urbano;

y el trazado veloz y sinuoso de las obras abstractas de clara influencia oriental realizadas por Fumiko Nakajima.

 Oscar García García Licenciado en Historia del Arte y Especialista en Valoraciones Artísticas

EXPOSICIÓN COLECTIVA O+O

FECHA: 19 de septiembre – 19 de octubre 2008 ORGANIZA: Oriente & Occidente Gestión Cultural LUGAR: Galería O+O. C/Francisco Martínez, 36 (46022 Valencia)

La Galería O+O

tiene el placer de presentar la exposición colectiva compuesta por las obras de cinco artistas: Monika Grygier, Faba, Kensaku Shioya, Francisco Urbano y Fumiko Nakajima.

 La muestra incluye obras de distintos formatos y técnicas: fotografía, grabados y pintura. Hasta el 19 de octubre se podrá disfrutar de una peculiar forma de ver el paisaje urbano a vista de pájaro, con las pinturas de Monika Grygier como protagonistas; la relación en esas ciudades y sus habitantes bajo la oscuridad de la noche, gracias al objetivo de Kensaku Shioya;

los trabajos de abstracción llenos de luz, color y volumen con los que nos sorprende el artista Faba; el mundo de las musas y los grandes maestros de la pintura desde la óptica pictórica del artista portugués Francisco Urbano; y el trazado veloz y sinuoso de las obras abstractas de clara influencia oriental realizadas por Fumiko Nakajima.

En su trabajo creativo, Monika Grygier, realiza caligrafía de paisajes urbanos, planimetrías de ciudades y suburbios, perímetros de espacios creados para vivir. Edificios, calles, callejones, plazas… vistos a vuelo de pájaro que se entremezclan de una forma laberíntica. Coordenadas urbanísticas que forman un juego de líneas y formas geométricas cercanas a la abstracción. Donde destacan el juego de los tonos pastel, primando blancos, tierras y grises. Esta artista nacida en Polonia y licenciada en Bellas Artes ha realizado varias exposiciones en Polonia, Republica Checa, Madrid, Barcelona, Sevilla, Albacete, Girona, etc. Su obra se encuentra en colecciones públicas y privadas de Polonia, España, Rep. Checa, Estados Unidos, Francia, Alemania, Inglaterra…

Las pinturas de Faba desprenden una sensación de elegancia y gracia. En su abstracción sus imágenes de inflaman gracias a las capas de sus pinceles y los objetos incorporados. Sus trabajos son una muestra de imaginación en movimiento, matices de colores intensos y contornos electrizantes. Formas y esquemas llenas de espontaneidad, suaves y brillantes ondulaciones, pinceladas de pulsaciones de energía… que componen piezas llenas de ritmo y musicalidad que nos llevan a la dimensionalidad de la pintura. Enigmáticas series y repeticiones que nos invitan a un viaje de alto grado simbólico a través de formas abstractas, biológicas o astronómicas.

 El sugerente punto de vista de las fotografías de este artista japonés afincado en Lituania, Kensaku Shioya, proviene de la utilización nocturna de la cámara con sensor de infrarrojos. Sus objetivos retratados son los rostros al natural de la noche en sus propios y únicos colores, que se cruzan y surgen sin ser mitigados por el poder de las luces. Sus imágenes se nutren de la oscuridad. Instantáneas de la gente que se oculta a la luz de luna, que capturan la conversación amorosa que se produce entre las formas arquitectónicas y los colores teñidos de grises. Como si de un cazador de recuerdos y sueños el objetivo de Kensaku Shioya retrata un suave y calido mundo visto en la libertad de la noche.

 El artista plástico portugués Francisco Urbano presenta en esta exposición colectiva obras pertenecientes a su serie “Models”, que representan la relación entre los grandes maestros de la pintura y sus modelos a través de la historia. Bajo una tonalidad terrosa figuras esbeltas posan para ser pintadas. Musas de contornos desdibujados que se mezclan con relieves realizados con recursos extrapictóricos. Marrones, naranjas, ocres… bañan sus obras de una luz especial que nos habla de recuerdos, añoranzas y tiempos pasados. Imágenes y sombras que atraen al espectador a observar el momento íntimo que se produce en la creación artística entre el pintor y su modelo.

Fumiko Nakajima realiza obras abstractas de clara influencia oriental están compuestas por dibujos de sinuoso trazado. Una mezcla aparentemente casual donde se fusiona color y fuerza, formando composiciones armónicas de ritmos cromáticos. Trabaja principalmente la pintura y el grabado, dos técnicas unidas por el carácter simbólico de su obra, el uso del color y la necesidad expresiva. En su proceso creativo el grabado es muy importante, un juego y un conflicto entre el espacio y el tiempo. Obras de gran fuerza que van más allá de los límites de su praxis plástica creando un juego de incertidumbres formado por un conjunto de sombras, figuras y siluetas. Fumiko Nakajima ha realizado exposiciones individuales y colectivas en ciudades como Barcelona, Zaragoza o su Tokio natal.

 La exposición podrá ser visitada de martes a viernes de 17:30 a 21:00 y sábados de 11:30 a 13:30 horas. Para más información puede contactar en el 961336449 / 639990392 o en omasoart@gmail.com.

          Resultados del CONCURSO INTERNACIONAL "Compositor ANTONIO GUALDA" de ARTES PLÁSTICAS 2006 (Gran Tamaño)