{"id":997,"date":"2007-07-15T15:04:16","date_gmt":"2007-07-15T18:04:16","guid":{"rendered":"http:\/\/patriciaclaro.com\/en\/?p=997"},"modified":"2014-05-26T21:50:55","modified_gmt":"2014-05-27T00:50:55","slug":"naturaleza-ausente-2-2-3","status":"publish","type":"post","link":"http:\/\/patriciaclaro.com\/en\/?p=997","title":{"rendered":"GAZING UPON THE LANDSCAPE"},"content":{"rendered":"<p>Artes y Letras.\u00a0<em>EL MERCURIO.<\/em><\/p>\n<p>Art Critique<br \/>\nChiuminatto, Concha and Claro:<br \/>\n<em> Waldemar Sommer<\/em><\/p>\n<hr \/>\n<p>A typical pictorial theme, landscapes, has been interpreted in three different<br \/>\nways by two female artists, in \u201cInstituto Cultural de Las Condes\u201d, and by a male artist<br \/>\nwith trajectory, in \u201cSala Gasco\u201d. This last painter mentioned, Pablo Chiuminatto, shows<br \/>\nnew perspectives of an argument to which he has maintained himself loyal to.<!--more--> In this<br \/>\nway, he puts in comparison his recent panoramic series from 2006 with his sepia<br \/>\nphotography from 1998. Yet, unlike all human attendance, the same protagonist results<br \/>\nto be much more subjective through the delicacy of watercolor, gouache or oil in<br \/>\ndiverse degrees of monochrome painting. The fickle dynamism and the capital<br \/>\nimportance of brightness and darkness, allows discussions about suggestible paintings<br \/>\nof light. And next to the emphasized luminosity, the strong synthesis that translates the<br \/>\nvisual and mental painter\u2019s sensations, starting from the variations about countryside<br \/>\npanoramas, Central-Chile\u2019s archetypical, finish by placing a significant amount of them<br \/>\nin abstract atmospheres. The illustrations and canvases oscillate between the yet<br \/>\nfigurative \u2013three vigorous \u201cOtros Paisajes\u201d\u2013 and the abstraction of twelve cardboards \u2013<br \/>\n\u201cAtl\u00e1ntico\u201d\u2013 poured through a well developed, and a rather colorful transit from night<br \/>\nto broad daylight.<\/p>\n<p>Similarly to Chiuminatto, one of the exhibitionists of Las Condes chooses as a<br \/>\nsubject and artwork, the conventional Chilean landscape. This refers to the young<br \/>\npainter, Maria Jos\u00e9 Concha. The close physical vicinity with her exhibition colleague<br \/>\nturns the comparison inevitable. In Concha\u2019s case, black, gray, and raw ochre are her<br \/>\ncolors, used for the wild scenery of Southern Chile. Although she tends to withdraw from<br \/>\nthe recognizable, there is no lack of dense foliage with a tormented tree upon it \u2013which<br \/>\nresembles those of Isabel Saa\u2013 or mountainous masses accusers of realism. Its making,<br \/>\nprodigal in drips and stains, offers a certain coarseness that underlines the dramatic<br \/>\ncharacter of these oil paintings on canvas. Nevertheless, the most interestingly personal<br \/>\nof this author is the very graphic and little figurative \u201cPatagonia gris y blanca\u201d, from<br \/>\n2007.<\/p>\n<p>Being completely different from the previous painter and Chiuminatto, in the<br \/>\nsame institute, Patricia Claro proposes indeed original visions of the landscape. Still,<br \/>\ncalm, lyrical, its intimate corners knowing how to synthesize the aquatic softness, the<br \/>\nlight upon it and from it, the peculiar vegetation adapted to the water, converting<br \/>\nthem in the most united natural ensemble. Notwithstanding her particular landscape<br \/>\nspirit, all of the above are enough to transmit with plentitude the deep sensation of<br \/>\nfinding ourselves wrapped by a global nature, valid for anywhere in the world. Yet in<br \/>\nthe same way, these faultless canvases with acrylic and oil, predominating green and<br \/>\nblue, show different closeness to the model.<\/p>\n<p>In this way, the four paintings in a smaller format, from 2005, lean towards an<br \/>\nabstraction with an intense ornamental meaning. In one of them, at the same time, the<br \/>\ndefined texture takes away the softness and calmness, typical of this artist.<br \/>\nOn the contrary, the bigger these paintings get, the more they connect to<br \/>\nrealism. For example, in the majestic \u201cCorte I, II and III\u201d, from 2007, those who stood out<br \/>\nby harmonious aquatic waves, in a certain measure, demonstrate their indisputable<br \/>\nbeauty with Simon Este\u2019s notable hyperrealism.<\/p>\n<p>After the calm and quiet that provoked the previously mentioned landscapes,<br \/>\npassing by the \u201cInstituto Las Condes\u201d\u2019 to the showrooms exhibiting the most recent<br \/>\nWorld Press Photo, means for the spectator to submerge in the most chattering and<br \/>\nanecdotal present time. Violence rules in it. And it is about the violence in relation to<br \/>\ntoday\u2019s wars; also through the amusement of sports, nature, and the attitude in the<br \/>\npersonal story. Nevertheless, other than the condition eminently journalistic and<br \/>\ndocumental of these photographs, there are some good shots. To mention the<br \/>\noutstanding, in that manner, the North American, Spencer Platt; the Israeli, Oded Balitz;<br \/>\nthe Norwegian, Espen Rasmussen, the only participant who was capable of expressing<br \/>\nhope.<\/p>\n<p><strong>Key<\/strong><br \/>\nPay close attention to the sensorial calm beauty that Patricia Claro obtains in her<br \/>\npersonal interpretation of the landscape.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Artes y Letras.\u00a0EL MERCURIO. Art Critique Chiuminatto, Concha and Claro: Waldemar Sommer A typical pictorial theme, landscapes, has been interpreted in three different ways by two female artists, in \u201cInstituto &hellip;<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[11],"tags":[],"class_list":["post-997","post","type-post","status-publish","format-standard","hentry","category-critica"],"jetpack_featured_media_url":"","_links":{"self":[{"href":"http:\/\/patriciaclaro.com\/en\/index.php?rest_route=\/wp\/v2\/posts\/997","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=997"}],"version-history":[{"count":5,"href":"http:\/\/patriciaclaro.com\/en\/index.php?rest_route=\/wp\/v2\/posts\/997\/revisions"}],"predecessor-version":[{"id":1538,"href":"http:\/\/patriciaclaro.com\/en\/index.php?rest_route=\/wp\/v2\/posts\/997\/revisions\/1538"}],"wp:attachment":[{"href":"http:\/\/patriciaclaro.com\/en\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=997"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/patriciaclaro.com\/en\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=997"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/patriciaclaro.com\/en\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=997"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}