“Puerto uses the chromatic expression as a way and a means to form a painting of structural strength”Bernardo Palomo, published in the newspaper, Granada Hoy on 30.12.2013
Painting with wise diction
Puerto uses the chromatic expression as a way and a means to form a painting of structural strength.
For this occasion the gallery presents the work of María José Puerto, an artist who uses the chromatic expression as a way and a means to shape a painting with a determinant structural strength. The author only makes use of plastic material, the power of pigments, to unravel a sensed reality where everything is subjected to the shaping system of some inks that develop an evocative entity and manifest the markings of a possible landscape that could become a reality when the expectant look of the spectator imposes its delicate will and expands its maximum emotional sense. The artist structures a composition with representative borders that are totally diluted, in benefit of a composition full of expressive effects that promote the evoked registers and fully implicate the observer to feel identified with this sensed scenario and that the plastic condition itself gives it a new identity that each person makes their own, personal and non-transferable. María José Puerto composes a series of chromatic lattices that get involved with each other, juxtaposing, interrelating, associating to create strong, powerful, referential plastic outcomes. Such ranges, above all warm, act like a type of particular puzzle that makes suggestive open spaces possible to personal interpretation and to the intimate aesthetic supposition of what is contemplated. The exposition places us before a painting that has stopped being figurative to embrace a new expressive creed that heads towards a basic abstraction that, still, has not shaken the stigmas of an illustration that is sensed not too far off and that continues being latent and providing identifying and evocative flashes.
María José Puerto is in possession of a very well supported and aptly carried out plastic language. The expressive exercise has to be very rightly structured to comply with its arbitrary defining position; the author cannot have doubts or qualms when extending the pigments; the development of the colour uncovers many shortcomings if they do not have a syntax that is able to relate the forming elements. This artist knows what she is dealing with, she has the right verbs and she conjugates them without qualms. That’s why her clear, euphemism free, direct and focused pictorial language is offered to us, to reveal a painting that is diaphanous and with great expressionist potential.
The artist opens up our horizons to a painting full of character, emotion, suggestive and defined schemes with all the values of the plastic that she handles successfully, delicately and with sense.
Galería Toro. Calle San Miguel Alta, 15. Granada.
“A pictorial ensemble that turns the landscape, the light and the colour into a new lyrical image through the interior activity of its creator.”Margarita Sánchez Latorre, Curator of the Jaén Museum
Nature and sensation
Theodor Lipps (1851-1914), one of the most important Einfühlung or Psychology of Art theorists, said that the shape of an object is always the one formed by my interior activity. In those years at the turn of the century, coinciding with the development of decadentism (Symbolism) and the birth of the first avant-garde movements (remember the first impressionist exhibition in 1874, the germ of all posterior acceleration), this thinker wanted to call our attention to the psychological component of Art, both in its perception and in its creation.
Remember that Modern Art no longer had to imitate reality as more reliable procedures existed. However, plastic creation was not going to stop being inspired in the existing because of that, as a source of sentimental projection, and especially if we bear in mind that nature itself offers abstract profiles, in the sea, in the sky, in the light.
The work of María José Puerto Marín starts in the objectivity of the horizon, of the countryside, of the ochre colours, of the evening shade or light, of the waters on a lake, of the mountain ranges and the radiant hillsides, of the forest or crystalline mystery. These are some of the thematic pretexts that fluctuate behind a very personal work that conjugates, among others, from Impressionism, the post-impressionist Paul Cézanne, predecessor of Cubism, to Fauvism and to American Abstract Expressionism, with slight technical concessions to European Informalism, for example, in the mixing of pigments with sand, to achieve textures in pieces like Últimas luces (Last lights).
The Sainte-Victoire Mountain, so many times represented by the Aix painter Cézanne, seems like a copy of Ladera encendida (Hillside on fire), built based on square shapes, extended with the palette, that give a certain gestural character to María José’s plastic. A piece that starts en a cold tonality concludes in a magical and volcanic chromatic explosion. Or the simple Bodegón, humble iconography of modern painting, a continuous source of formal investigation into the French painter.
Another set of panels and canvases are nearer to American Abstract Expressionism, especially in the aspect of “painting fields of colour”, in which the masters Clifford Still, Barnett Newman and Mark Rothko stood out. Diverse touches of originality singularise this transatlantic influence. In the first place, the dimensions. If the New York School was characterised by making works that aimed to devour the figure of the spectator itself, María José Puerto turns to a friendlier format, less aggressive, more domestic, sweeter, a format that, when trapping us, it does so regarding our look and our emotions. But the division in “fields of colour with sienna Horizon”, “Red Field” or “Mountain range of fire” comes from the formal investigation carried out in post-war American plastic. And we could consider this to be a more literal influence in the chromatic range and layout of “Countryside”, similar to a member of the most gestural movement, Willem De Kooning; “In the lake”, which announces the coldness of the strips of colour of Rothko and finally, en “Chromatic Game”, where the verticality of Newman becomes a multiple horizontality with a more spontaneous stroke.
A pictorial ensemble that turns the landscape, the light and the colour into a new lyrical image through the interior activity of its creator.
“María José Puerto elaborates works of abstract expression, of elegant style, vibrant to look at, seductive when contemplated”Francisco Bautista, published in the blog; La Odisea de los Días, 10.01.2014
The unknown chromatic sea
The observer slips through gentle, ethereal, horizon free colours when entering the core of the painting, which is in a permanent surge, with crystalline tonalities, sensing the game carried out by the figures in it.
María José Puerto elaborates works of abstract expression, of elegant style, vibrant to look at, seductive when contemplated. I say permanent surge because in all of her compositions the colour does not appear level on the face of the rectangle, rather it is shown with bumpy topography; and that does not mean the result is passionate chaos, rather a suggestive and delicate image. Bluish greens, rough thanks to the brief and precise stroke, sometimes adorning the pieces with ochre and red strips that support and give volume to the light tones. In others, the colours are dispersed and expanded in the framed surface, placed in a logical order, like a burning reflection, or also as a confrontation between the cold of the light blues and the ardour of the golden colours and the wide range of reddish to orange colours. When evanescent, they leave a silvery aspect on the painting, or if not, groups of brown, reds, greens invade it… not uniformly, as if it were bursting its banks.
The painter has a visual genius aptly transplanted to the painting, springing from it pieces that seduce the spectator’s attention. The works combined, ordered in line with a chromatic rhythm, they produce a superior composition, more that the perceived impression, the product of a good layout.
Transparent glows, layers of tonalities that generate kinetics inside the work, balance of colours that offer harmony in her productions, these are the properties of María José Puerto’s plastic works.