Magazine Arte Al L\u00edmite
\nInterview
\nMarch-April 2008<\/p>\n
After graduating from the university in 2005 as Bachelor of Visual Arts, these last two Under the topic of landscapes, your painting achieves to bring together two opposite From the photographed image to the final artwork, how is the process both technical and What drives you away and what makes you closer to hyper-realistic painting?<\/strong> Magazine Arte Al L\u00edmite Interview March-April 2008 Having a hyper-realistic and abstract appearance in the view\u2019s cut, this Chilean painter\u2019s landscapes poses a topic renewal from the pictorial illusionism and …<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4],"tags":[],"class_list":["post-759","post","type-post","status-publish","format-standard","hentry","category-portada"],"jetpack_featured_media_url":"","_links":{"self":[{"href":"http:\/\/patriciaclaro.com\/en\/index.php?rest_route=\/wp\/v2\/posts\/759","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/patriciaclaro.com\/en\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/patriciaclaro.com\/en\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/patriciaclaro.com\/en\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/patriciaclaro.com\/en\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=759"}],"version-history":[{"count":4,"href":"http:\/\/patriciaclaro.com\/en\/index.php?rest_route=\/wp\/v2\/posts\/759\/revisions"}],"predecessor-version":[{"id":1546,"href":"http:\/\/patriciaclaro.com\/en\/index.php?rest_route=\/wp\/v2\/posts\/759\/revisions\/1546"}],"wp:attachment":[{"href":"http:\/\/patriciaclaro.com\/en\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=759"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/patriciaclaro.com\/en\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=759"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/patriciaclaro.com\/en\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=759"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nHaving a hyper-realistic and abstract appearance in the view\u2019s cut, this Chilean painter\u2019s
\nlandscapes poses a topic renewal from the pictorial illusionism and a creative process of
\nmultiple stages, where generally they are photographic close-ups of water manipulated by
\ndigital means, then used to work the painting with profuse manual technique.<\/strong>
\nText: Anita Lav\u00edn<\/em>
\nDegree in Aesthetics<\/em><\/p>\n
\nyears have been of intense activity: two exhibitions, the making of the Fondart project
\n(National Fund of Art Development), now you prepare to participate in ArteBa in May
\n(Buenos Aires fair), for September, collective exhibitions in Washington and New York,
\nand also an individual exhibition during December in Animal Gallery of Santiago. How
\nhave you coped with the rapid recognition? Do you think that your previous Design
\nformation, career studied between 1978 and 1982, in a certain way hurried your artistic
\nmaturity?<\/strong>
\nThe decision of studying a second career, Bachelor of Arts UC, consolidates an artistic
\nformation that joins with my pictorial proposal, methodological experiences applied in
\ndesign projects, , knowledge of diverse techniques experimented for years in painting
\nworkshops and the development of a theoretical project surrounding my artwork that
\nrelates with a particular view towards the landscape. The recognition towards my work, in
\nthese first years of exhibitions, really motivates me to keep on in the search of that
\ncontemporary image, elaborated through a personal manipulation of the tradition painting
\ntechniques, confirming me that an artist must show his or her artwork only when he or
\nshe really represents it, even if he or she previously has to walk a long road to achieve it.<\/p>\n
\ncurrents; the realism and abstraction. How did you come up with this symbiosis?<\/strong>
\nThe representation of a landscape\u2019s detail, in this case the water and its reflections, implies
\nto rebuild as a total that anonymous piece of a place, where the real world ends and the
\ncanvas starts, showing a new reality processed by my view. This landscape represented as
\nan \u201cidea\u201d finally translates into pure painting. It is here where the abstraction to tension
\nthe limit between what\u2019s photographed and represented appears, where the strategy is
\nfigurative but also using a forced framing. The image then becomes a visual texture where
\nthe light forms the drawing, capturing the essential characteristics and parting the artwork
\naway from merely description.<\/p>\n
\nconceptual?<\/strong>
\nAlthough there\u2019s an existent image initially captured by the digital means, in the
\nconstruction of the frame the force is emphasized and the manual valor, being the hand a
\nbasic gesture, the artwork\u2019s protagonist. After a long photo selection taken personally in
\nwater places, a work that searches to activate a reflexive contemplation around the work
\nand its process starts. Successive layers of paint are added forming a smooth thickness,
\nwhere the color depth and pictorial material are finally the same support for the image.
\nThe representation, then, is from a cut of a water view that acts like a natural mirror
\namplifying in a scale one to one, reuniting the surrounding\u2019s colors and where the
\nspectator can extend farther the limits of the painting\u2019s image of an absent place.<\/p>\n
\nThe perception of a long distance glance and the closed-up look of my artwork it\u2019s what
\ndifferentiates me from the hyper-realism, while my approach to this style is stated by the
\nreality of the colors. The landscape topic activates in my work a transformation of the
\nmodel itself, centered in the pictorial process, that because of its characteristics it confuses
\nthe spectator in the \u201chow\u201d of the image construction. Standing far away, it\u2019s perceived
\nalmost like a photo, but the close relationship with the painting reveals a layer cut
\ntreatment, geometric, of thick material, and superimposed to a background of an almost
\nnonmaterial aspect, what necessarily puts in doubt the pictorial representation.<\/p>\n","protected":false},"excerpt":{"rendered":"