Maria Veronica Leon V artist from Ecuador in Paris

« THE DUNE SYSTEM »












The dune, the astonishment.


“When I'm in the desert, I leave everything behind. "


Many years ago Maria Veronica Leon-Ventemilla began by revealing the invisible traces left in space by the movement of the body of dancers. With her baroque sensibility, she then embarks on the exploration of the face of the self-portrait and then of the portrait. The fascination with water and gold brought her to the Venice Biennale in 2015 with “Gold Water: Apocalyptic Black Mirrors”. Performance, photo, installations, all of his creation correspond to specific moments in her life, thus punctuating her crossing of cities and continents. The desert, this immense wrinkled monochrome, marks a turning point in the way she sees painting.

On paper, the curved lines now frame the golden walls. The soft hunchbacked shapes like matrices vulnerable to the mercy of the winds hide in their sublime undulatory mystery the premises of the impossibility of the image.

The nothing at the root of all creation, the zero degree of its own pictorial experience, infinite space has no face, neither does the loss of the father.

There remains the materiality of sand, the illusion of color, the density of air. Traces are inscribed on the paper like writings cemented on the walls of her sensual curves. The breath of everything remains invisible.

She works from memory. His dunes seem to form themselves on the white, grainy paper like the palimpsest of her perception. "They happened quite naturally" confides the artist, as if dictated by an exhalation animating the material. The sand, the acrylic glue, from where this “seat in gesin” dear to the Breton painter Pierre Tal Coat, which it offers to the eye and which it calls very scientifically “the system of dunes” which do not represent not landscapes, skies, oases or personalities.

On the blank page, protruding reliefs stand out and intersect, provoking the imagination, the painting as a task and a golden trace, consolidated, modeled materialised in the crushed earth of the dune.

Its dunes transform themselves. They change their color, reality, shape. Throughout the series they are in motion like real wind-powered dunes, coloured by the rays of the sun. Almost liquid orange trees, imprinted greens as if to seek the freshness of water, other exogenous hues, strangely pigmenting them.

Its dunes then seem to disappear in an explosion of lines and gestural and nervous features like a disorder committed to transforming itself into order. Do they announce the birth of a new prayer?

The "letter" is not yet formed. In the belly of the dune it seems to be in gestation. She seeks to reinvent herself to make the junction between the physical world and the metaphysical world.

The contribution of the sand testifies to the geographical location where the work of Maria Veronica was carried out. Its symbolic charge adds to the content the reality of time and space as an essential inking. Rub al Khali's imprint moved his soul: This is not a dune. 

Ileana Cornea (Artension) Paris March 2021




   

 

 

 

 

 

My work’ conceptual platform is a trilogy of associations: 1. My time-my memory & my territory. 2. World time-world memory & world territory. 3. The Great Time-The Great Memory & Mother Earth or The Great Territory (this latter stands out as the major one). A visual-symphonic triptych highlighting particularities of what I call: “My time”, “The time of the world” and “The Time”.

Our own memory is the measure of our individual time; our past, present and future boils down to what our memory allows us to remember and project. “Our individual time” and “the time of the world” are finite, measurable, an avalanche of days, a procession of centuries, a sum of thousands of years. But “The Time” is spirit, just One Time, a fragment of Eternity, a bridge and a door to it, and Eternity is an infinite and perennial present. The state of our individual time is not that of the time of the world, nor The Time’ state; the world lives those times dislocated, one of its imbalance reasons. After 2020 world’ Pandemics we should focus on “The Time”, a possible synchronization of the mentioned times in alignment with other Universal forces, would provide mayor spiritual reinforcement for affected Humanity’s healing with natural sources.

Association 1 & 2.-

Rub’ al Khali’ sand action-drawings/paintings.- With my pen-drawing technique, the Empty Quarter’ sand & electronic music in “VJ mode”, I generate “supersonic curve lines”, this practice super-mobility is ideal to reflex that dislocation or these times world extreme acceleration and anxiety; lines representing the hyperenergetic fluxus of multiple cultures in action pushed by exorbitant forces of progress, the daily fast-paced rhythm of Dubai as mega commercial hub, and many overflowing societies’ pressure. I have been using Emirates’ original sand as capital symbol of the inner power of UAE territories and history.

Association 3.-

 

 

 

 

 

 

 

 

 

 

 

 

 

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