Carmen Gloria Machuca
I called these paintings Album because they look like sheets of an album.
Colors that are born as layers, sometimes thicker, others more translucent.
All my paintings are born from a stain or from a series of them swimming on the canvas. Without the involuntary stain I can not start a painting. All part of the accident that is the stain.
“An album is completing with brilliant memories; visions and magical appearances.
Silent work, painting present and in exercise. The rhythm does not stop.
Using a popular, warm, poetic and emotional style, through a cheerful, spontaneous, close and familiar vision, “FOLKLORE” is an exhibition of colorful, attractive and welcoming paintings , based on images and codes on Chilean peasant culture, thematizing the rural world with a joyful and nostalgic spirit at the same time, emphasizing common and everyday places, as well as the fascinating peasant idiosyncrasy of its landscape, traditions, customs, tastes and flavors.
They are everyday realities where one can observe the taste for simplicity, with a predominance of joy for the authentic and genuine. Building from the painter’s poetic gaze, a colorful folkloric world, rich in character, charm and details, a fun and energetic painting, a painting for remembrance, unprejudiced, something trivial, something original, picaresque and ironic. A painting of field stories, a creole painting.
Using a popular, warm, poetic and emotional style, through a cheerful, spontaneous, close and familiar vision, “FOLKLORE” is an exhibition of colorful, attractive, pleasing to the eye and cozy paintings, based on images and codes on the Chilean peasant culture, thematizing the rural world with a cheerful and nostalgic spirit at the same time, emphasizing common and everyday places, as well as the fascinating idiosyncrasies peasant, as of its landscapes, traditions, customs, tastes and flavors.
These are everyday realities where you can observe the taste for simplicity, with a predominance of joy for the authentic and genuine. Building from the painter’s poetic gaze, a colorful folkloric world, rich in character, charm and details, a fun and energetic painting, a painting for remembrance, unprejudiced, something trivial, something original, picaresque and ironic. A painting of field stories, a creole painting.
The women on the stage are transformed leave aside their real lives and fears and dress to be what they have always wanted to be; beautiful princesses, admired for their grace and respected for their talent. In this world created for them they feel powerful, bright and courageous. The lights chase them to not lose any of their movements.
This is the princess of the balance on the ball, the princess of the tightrope, the trapeze princess, the princess of illusions and magic, the princess of the dance and the singing and many others who are preparing to marvel at the beauty of their costumes and the dominance of their movements.
Carmen Gloria Machuca
In Colorful 10 paintings gather around the success of color. The essential motivation for the conception of this sample has been to create a striking visuality using the graphic language of organic shapes and color; forms that seem to float and intertwine with each other again and again in each painting; that’s it: shape, color, wash, control, lack of control – pause – and again form, color, wash, control, lack of control – pause – that’s where the painting exercises happening, exercising.
Colorful has allowed the practice of painting a painting at times less and less painted, sometimes fresher and less drowned. To conceive Colorful it was essential to assume the risk of facing the living canvas and to make paintings come from the painting itself, sometimes challenging the technical possibilities in order to make visible a moment-moment and then perpetuate it in time. It should have been left to the painting to exert itself without illustrating a definite theme; for that reason in Colorful there is no text or topic to illustrate. Nothing catches or interferes with the pure act of painting.
I dedicate this sample to all those people who almost without thinking stop their eyes for a minute before a painting and then hurry to say “I do not understand art , but the colors are pretty. “
Collective exhibition of painting and goldsmithing:
Claudia Penrroz- Pilar Ríos M.- Cecilia Quezada PLASTIC ARTISTS
Soledad Tobar- M. Isabel Moya Sch. ORFEBRES
The theme of women is a key element in deciphering the social, economic and cultural development of Chile during the colonial era.
The patterns of Chilean women today are still related to those of the first Spaniards who came to colonize Chile.
The transfer of cultural patterns, rites and customs have been passed from one generation to another through an indestructible cable: “the woman”.
They were hard-working women, with or without fortunes, in search of husbands, nuns, with slaves in service, prostitutes, merchants, etc.
After founded a precarious society that depended on a distant Spanish monarchy, that was alien to the lights of the Enlightenment, dominated by an ecclesiastical caste and civil servants of the King, and Creoles favored through latifundio and encomienda, Chile suffered a kind of “colonial siesta.”
The study of this work is the life that women had during the almost three colonial centuries:
Carmen Gloria Matthei, Director Art Gallery Montecatini.cl, together with Claudia Penrroz, Pilar Ríos M. and Cecilia Quezada, Chilean plastic artists have addressed the issues previously referred to the idea of making several samples of painting, both in Chile and abroad, under a contemporary perspective, and as a contribution to the celebration of the Bicentennial and our cultural identity.
Sample of Individual Painting by the Chilean artist Claudia Penrroz.
Claudia is inspired by the female human figure, roles that women have had in different periods and places in history.