The 9.99 Gallery presents Vulcanidad by Diana de Solares

Using abstract language to reflect on the real world could be an equivocal choice because of its lack of specificity. However, for Diana de Solares this is a playful gesture and a philosophical posture that proposes personal encounters with the world, which translates to their own forms and colors. So the artist, for years in which are collected the small debris, materials, colors, figures and impressions that, if at that time still do not have a sense, already in the study of coupling as a puzzle of Blocks that fit perfectly, or color segments that make up a unit. Thus, each body acquires a different form and even a personality.

Many pieces in this exhibition use these found elements. The construction tables, the paintings of the years, in contrast to the perfectly produced MDF plates, created a dialogue between the perfect and the precarious, the historical and the recent. And it is here that the artist begins to wonder about our passage through the world as changing beings, that modify the environment; Our passage through objects and things, work, time and spaces. These pieces still have rusty nails, several layers of paint, blows, wounds, and fit into a sort of decomposable composition, like all his other works in which colors and blocks occupy a specific place in the painting and relate to Others in their ecosystem.

It is also your color palette. One that gathers from the observation of shared spaces, popular culture and landscape, and makes his work projected a slight and almost imperceptible thread with the local. For she herself mentions that an entity without color is a field divorced from human life, since in the colors we inhabit.

Under these same contrasts and encounters, the artist reflects on the pieces of this exhibition titled "Vulcanity", since, from the study in Antigua Guatemala, the Water Volcano is not only the constant horizon, it allows him to reflect on the work, the Materials, techniques and colors as entities that are "transformed and transmuted, and in the process devastate and generate", as well as the Volcano that suffers from this same polarity between "chaos and order, rupture and unification", as it expresses itself in The text that accompanies the exhibition.

Rather than referring directly to Volcano, Diana uses her figure as a metaphor covering a vibrant work, with sharp angles, slopes, slopes, peaks and tensions between lines, shapes and colors that are part of a landscape, her personal landscape . So its geometric language does not come to us as distant or hermetic, but on the contrary, familiar and intimate: ours.

Diana also mentions in her text that "colors tend to almost musical harmony, like a lava flowing silently on the side of the volcano." Thus the pieces are in the present, some things or kind; And other aggressive and direct. Like the volcano that as a landscape enchants, and as the body explode, the pieces of the exhibition also conceal a place in space, and generate, by their volume, shadows and reliefs. Therefore, more than paintings or sculptures, they are objects, artifacts and bodies at the same time.

Throughout the years, Solares' work can be found in parallel with architectural studies or other artists, such as the North American Frank Stella, the sculptress Thea Djordjadze, the native of Georgia, and the Colombian artist Beatriz Olano. But it is in his personal processes, in his mediation between material and intimacy, between body and space, that his work has just interpreted a world that appears in symbols. Forms and archetypes that she herself attempts to decipher through observation and discovery. Diana de Solares is undoubtedly, besides artist, a translator of the world that explores. That is why its colors, symbols and forms are personal references of a universe that constantly renews itself and destroys, breaks and sorts, activates and rests, like the Volcano.