ENGLISH diagram-musicality.blogspot.co
iluminadagarciatorres.
numerical-design.blogspot.com 2002
ILUMINADA GARCÍA-TORRES “EL HILO DE ARIADNA”1991-2002
ILUMINADA GARCÍA-TORRES catálogue exhibition"EL HILO DE ARIADNA 1991 - 2002" Ariadne´s Thread"LONJA del Pescado" Municipal Exhibition Hall
Paseo Almirante Julio Guillén Tato, 18
03001 ALICANTE
From April 30 to May 28, 2002EXCELLENT CITY COUNCIL OF ALICANTE
MUNICIPAL PATRONAGE OF CULTUREPresentation TextWith the opening of the current exhibition "EL HILO DE ARIADNA 1991-2002" in our "Lonja del Pescado" Exhibition Hall, I have the pleasure of presenting an excellent artist in Alicante, ILUMINADA GARCÍA-TORRES.ILUMINADA 's career path was not unknown to me, but this exhibition confirms the high heights of her artistic endeavor, which is doubly satisfying for me as she is also an artist from Alicante who has developed most of her professional journey in Madrid and London.This exhibition features a small, yet fundamental, selection of the latest paintings from her realistic period, which introduces us to the understanding of her current artistic language, initiated more than ten years ago, and which she now presents to us. In it, we can enjoy the innovation of her pictorial proposals, with their intense rigor, their spatial sense, and the vibrant chromatism of her strokes. We also have the opportunity to contemplate one of her surprising incursions into three dimensions, with the sculpture "COMBINABLES."Pedro Romero Ponce
Councillor for Culture and EducationPage 3
Paseo Almirante Julio Guillén Tato, 18
03001 ALICANTE
From April 30 to May 28, 2002
MUNICIPAL PATRONAGE OF CULTURE
Presentation Text
With the opening of the current exhibition "EL HILO DE ARIADNA 1991-2002" in our "Lonja del Pescado" Exhibition Hall, I have the pleasure of presenting an excellent artist in Alicante, ILUMINADA GARCÍA-TORRES.
ILUMINADA 's career path was not unknown to me, but this exhibition confirms the high heights of her artistic endeavor, which is doubly satisfying for me as she is also an artist from Alicante who has developed most of her professional journey in Madrid and London.
This exhibition features a small, yet fundamental, selection of the latest paintings from her realistic period, which introduces us to the understanding of her current artistic language, initiated more than ten years ago, and which she now presents to us. In it, we can enjoy the innovation of her pictorial proposals, with their intense rigor, their spatial sense, and the vibrant chromatism of her strokes. We also have the opportunity to contemplate one of her surprising incursions into three dimensions, with the sculpture "COMBINABLES."
Pedro Romero Ponce
Councillor for Culture and Education
Councillor for Culture and Education
Page 3
numerical-design.blogspot.com 2002
GEOMETRIC POETRY AND EMOTIONAL CALCULATION
JOSÉ MANUEL ÁLVAREZ ENJUTO
It is not easy to respond pictorially to the impulses related to conjectures around arithmetic and orthogonal processes, and even less so in the form of poetry and sensitivity. In a way, this is what the compositional contents in the work of ILUMINADA GARCÍA-TORRES (1949Elche, Alicante) come to shape. An expressive formulation centered, almost exclusively, on the investigative repertoire of spatial organization through the serialized multiplication of the line in progression. A discursive play where the relationship and the consecutive evolution of a particular paraphrase with the single direct stroke of a mediating line in space—or, what is the same, through the expression of a controlled and organizing straight line in the intended final scene—manages to achieve not only the metaphysical and spiritual purpose of the creative endeavor, but also the sensory morphological reference through that iconic spectacle.
Approaching the artistic work of ILUMINADA GARCÍA-TORRES with this categorical principle can provoke a mistaken assumption. We must be extremely cautious when referencing and investigating the proposal of this marathon artist. A qualifier that is more than clarifying, since the constancy, rigor, dedication, and even the obsession that this author commits to the achievement of her work, surprises and perplexes anyone interested.
Iluminada García-Torres mortgaged her life and circumstances many years ago to the task of art, to the supposed redeeming dream of guiding herself from this discipline toward the sensitive and enlightened consciences of the progressive and educated nuclei of society, who are presumed to have a solid and beneficial civic establishment capable of participating in and sharing the refined and exclusive ways of artistic language. A naive and innocent presumption to consider this attitude in wealthy and consolidated population sectors within areas of influence. Art, a fraction of art, pure and non-speculative art, only has page 5 space in sensitive minds, porous to sincere calligraphic formulations and responsible to the elucubrative principles defended. Art is a formal idiom to be visualized, accepted, and participated in exclusively by those educated social sectors that favor this linguistic principle. A community too restricted, with a suspicious influential capacity to awaken the spirit of the majorities.
It is not the purpose of this introduction to review the different social stages and speculation regarding the infinite possible sensitivities and relationships of man with art and with its implicit manifestos in its configurations, but rather to emphasize the essential shaping values of this author's constructive repertoire. A monumental and pretentious construction, given that for more than ten years this artist determined her life and her destiny in search of a conclusive and messianic truth based on the substantial revolution of the artistic word. A fact that could be elusive from its very essentiality and nature.
However, the determination of Iluminada García-Torres to progress in the art world through her private ponderings, defending the plasticity of pictorial formalizations sustained by the compositive beauty of controlled arithmetic, forces observers of her work to establish a spiritual and sensitive relationship capable of transcending into an anonymous and indeterminate space filled with exclusive references that reach deep into the unconscious. Perhaps the greatest of the values contained in the works of this special author.
And I also say special because moment by moment this artist demands the utmost of our attention. page 6
She continuously lives in doubt as to whether she has been well interpreted. An ineffable question to that portentous and extremely difficult determination of hers to grow exclusively from the sole resources of art. A decision that led her to dispossess herself of her material assets, and beyond other personal bonds.
Art for Iluminada García-Torres is something more than an autonomous representation where the preponderant balance of shapes and colors establishes a harmonious and moving scenography, as a consequence of her applied implicit ordered intentions. A fact that will undisputedly distinguish her from the formal iconic fields through which she wishes to progress.
Arithmetic poetics and emotional calculations are not something pursued or achieved from the most awake emotional stages, but rather from the most secret and deepest corners. And the work of Iluminada García-Torres possesses that consubstantial truth. Its revelation responds to a pristine and essential fact endowed with a metaphysical transcendence capable of altering any philosophical conjecture. The mere pictorial representation of her restless spirit establishes a long string of elucubrations around art, and the enabling of an abundant set of disparate and committed theses. Art transcended through arithmetic formulas and rhythmic spatial sequences inevitably reflects a severe attitude of demand for social understanding. An attitude capable of determining the sensitive and enlightened degree of people susceptible to capturing, perceiving, or participating in the phraseology emitted through that specific medium of art: color, composition, harmony, affection, structural reasoning. Consecrated and elitist ways detached from any contemplative vulgarity. And let it be said, art also enjoys that selective, reductionist, and beguiling craving capable of provoking endless heartbeats in full and well-intentioned hearts. That is the dream of Iluminada García-Torres: to awaken consciousness in an infinite population from an orthogonal-pictorial narrative and spatial serialization, grounded in continuous chromatic variations and reiterating gestural modulations.
An iconography where the continuous module, the coherent mathematical evolution dominates the visual spectacle of these scenographies, demands, at least, a reflection on mathematical painting and spatial orders Page 7 page 8 balanced. And this inevitably leads us to the de Stijl movement, Mondrian, Rietveld, and that pleiad of authors who understood that in geometry and in spatial organization through chromatic icons or balanced flat compositions, rational orders could be established in the refutation of plastic scenographies, or intellective articulations according to the reasoning processes in the elaboration of those gestural or parsimonious registers that support the final spectacle. A fact of great transcendence if we understand and accept the ultimate combination from the formal constructive procedures of the creative happening.
An evaluative conduct often put into question due to the magnitude of the applicative exercises in the establishment of those territorial orders and of spatial harmony, based on the cadenced discipline and of reflective quadratures with the determination to grow the rigor and severity in the possible building creative approaches. An inclination facilitated by the numerous elucubrative minds in favor of the fulfilling resources of accordant melodies and of spiritualization, capable of determining the favorable spirits or the sensitive stimulations according to the representations shown. A fact of high value if we understand that the elaborative process from the field of plasticity page 8 page10 it must overcome numerous obstacles and vicissitudes not only to be accepted, but to be considered a profuse and revealing manifesto within the linguistic occurrence of art.
The congregation of all these expressive, edifying particularities inevitably demands a determining formal approach. And the works of Iluminada García-Torres possess that specific configurative set. None of the works dated in recent years facilitate any sequence other than the one centered on geometric poetry or emotional calculation. An enthusiastic and passionate transition in search of the harmony of the intervened spaces.
A rigorous endeavor, as always, in the performance methods of Iluminada García-Torres if we were to only notice the obsessions evidenced in her expressive work, yet spontaneous if we were to apply a detailed review of her formal behavior.
Evidentially, the iconography transcribed by the artist Iluminada García-Torres must perhaps correspond mostly to the calligraphic field of the formal orders of lyrical abstraction; that is, to the illustrated repertoire of the grid and to the educated music of arithmetic in its interactions with the environment and with probable urban routine, with the simplest life. An iconic field, as a consequence, abundant in speculative and referential manifestos related to art and nature, to art and the environment, to art and architecture, to art and urbanism. A subliminal evidence that we do not know whether it grows intentionally, or on the other side of purpose and natural demand.
An event beyond. A growing elucubration. The reality of the work of Iluminada García-Torres progresses ineluctably above these considerations and is, and manifests itself as, exultant due to the depth of its indisputable truth, to the portentous conduct of its revelation, to its profound edifying commitment. A manifestation impossible to be fragmented, reduced, or bent to false moods and situations.
From the history of times in which Iluminada García-Torres sought the revelation of her true occupation in the classrooms of the old and now page 10 page 12 the former Royal Academy of Fine Arts of San Fernando in Madrid. Her evolution toward abstraction, with her reflections and plastic proposals, signified a clear determination to establish herself within the appreciative panorama of concurrent artistic talents. No one who valued themselves could be capable of taking the decision to categorize the evaluative talent of this emerging artist. And so it was once she appeared within the referential and exemplary spheres of the artistic scene. A fleeting and transitory appearance with enough distinguishing value to break through into the difficult established artistic panorama of the time, made difficult by the corporate dynamics resulting from an inadequate establishment and without potential means to convey itself with respect and honorability in the panorama of the established art market.
Many are the dates through which the iconography of Iluminada García-Torres has passed; there is even talk and boasting of having received classes from Antonio López García at the old Royal Academy of Fine Arts of San Fernando and at the Circle of Fine Arts in Madrid. An evidently anecdotal episode when it comes to analyzing the qualitative and morphological category of this irreducible author. Resolved to assert an iconic composition sustained by the modular repetitive beauty of the line and of the quadrangular geometric registers page12 page 13 from this, capable of claiming expansion, boundlessness, and irreducibility once the gesturalisms traced from mathematical severity are the directing agents of the resulting formal orders, we must understand a very special phraseology. Admitting an iconographic discourse sustained by the rigor of the stroke and the discursive effort of a conscientious calligraphic order must be understood as a firm and convinced endeavor in its voluntary character. A fact revealed despite so many inconveniences, capable of showing itself as sufficient, determined, and above all speculation. This is the absolute truth of this author of enormous resilience.
The work of Iluminada García-Torres demands an intellectual and reasoning attention in search of establishing a behavioral order and formal harmony, poetic ties in the moving relationships of anyone who approaches, whatever their expressive intention may be. A pictorial intention inspired by gesture, measure, compositional rhythms, formal transition, chromatic vibration, and metaphysical transcendence. In short, the transmitting efficiency of the iconic repertoires in the relationship and response of the visiting public facing those active settings offered.
The work of Iluminada García-Torres can offer no doubt regarding its discursive intentions, since the whole of her work is registered around this formal and manifest purpose. Work and environment in their ultimate expression. Geometry as a determining linguistics. An incontrovertible revealed truth. text by JOSÉ MANUEL ÁLVAREZ ENJUTO (2002)
2002 exhibition catalogue geometry ARIADNE'S THREAD 1991-2002 by ILUMINADA GARCÍA TORRES at the Municipal Exhibition Hall, Fish Market, Alicante May 2002
spatial-combinable.blogspot.
numerical-design.blogspot.com 2002
"EL HILO DE ARIADNA 1991-2002" 2002 Geometry Exhibition Catalog
by ILUMINADA GARCÍA TORRES at the
Municipal Exhibition Hall, Lonja
del Pescado, Alicante. 2002 04/30 - 05/28, AlicanteTEXTS BY ILUMINADA GARCÍA-TORRES
REFLECTIONSILUMINADA GARCÍA-TORRESFollowing the sight of the sculpture of Sleeping Ariadne in the Prado Museum, and through the oil paintings of her likeness that I painted there, I became aware that her harmony—an alchemy of power and subtlety that impressed me so deeply, sparking my fascination—was not by chance. I discovered that this harmony invokes a geometric and mathematical cosmos that now guides the poetics of my geometric painting.Page 14·15 Text from 1993 and 2002 geometry exhibition catalog "ARIADNE'S THREAD 1991-2002" by ILUMINADA GARCÍA TORRES (1949 Elche. Spain)Ever since the first Continuous Spatial Tracing painting, "Ariadne's Thread," the language of sensations and concepts that I progressively develop toward harmony has been expressed. Through the expression of the line layout in space, in a single gesture, an expression of the moment, established as a unity—line - space - time—within the proportional relationships with the dimensions of the structures, universe matrix square.Poetically, the projection of "Ariadne's Thread" over the internal dynamics of the paintings flows between their lines. The uniqueness of each line drawn in space is a step forward in the trajectory toward light. All of my paintings constitute the expression of a single work.Page 16Geometric Art ExhibitionARIADNE'S THREAD 1991-2002
BY ILUMINADA GARCIA TORRES
Lonja del Pescado Exhibition Hall
Alicante, 04/30 - 05/28, 2002ARIADNE'S THREAD. Continuous Spatial TracingBY ILUMINADA GARCÍA-TORRESOnce again, I transcribe the text containing the reflections and artistic foundation of my painting, first published on May 7, 1993, in the exhibition catalog held at the Caja de Ahorros del Mediterráneo, Cultural Foundation, Alicante. These reflections were subsequently published in the catalog of the Geometries exhibition, organized by the "Juan Gil-Albert" Institute of Culture of the Provincial Council of Alicante, November 1996.In an attempt to explain to myself the causes of the artistic approaches I was taking and to achieve a better understanding of them, I made a few reflections.First of all, I recognize that if my evolution has led me to my current artistic language, it has been because, step by step, starting from reality, painting from life, and delving deeper into it—motivated to find the essence of the elements—I have reached this approach. The clear and decisive starting point was the experience of painting the sculpture of Ariadne in the Prado Museum.Almost simultaneously, I intuited this approach across three languages: visual poems, sculpture, and painting, starting in all of them from the same unity of concept, their developments being a motivation and an end in themselves, while remaining complementary.These multiple artistic manifestations share a basic structure: the square, studied under the spatial modulation produced by its structural subdivision into 25 squares. Because this structure results in the exact same geometric shape from which it begins, it possesses an "infinite" dimension and can have a "continuous" development.The act and reflection of painting lead me to express that:
The square is the container of space, and by expressing the line within it, we encompass time.I call the square that contains the structures the "universe matrix square." The structures—whether imagined or represented through points or lines—serve as a guide for composition and can constitute a single or partial artistic representation. These structures can be joined together or subdivided, forming other structures with different dimensions that foster new compositions.The elements—the point, the line, and the shapes they generate—can be interpreted as independent worlds that, in turn, partake in the same meaning we attribute to the whole. Therefore, each element partakes in the whole, and the whole is contained within the essence of a single element. Page 20Text from 1993 and 2002, exhibition catalog Geometría EL HILO DE ARIADNA 1991-2002 by ILUMINADA GARCÍA TORRES at the Municipal Exhibition Hall, Lonja del Pescado, Alicante, From April 30 to May 28, 2002
I find the full meaning of space in the universal matrix square within the relationships that occur among the elements expressed in its structures.- I signify the space contained within the square as free space.
- If the elements—points, lines, and general shapes—are expressed in the structures, they manifest the concept of fullness in relation to the free space. I signify this relationship as filled space.
- When the space is determined by the non-representation of elements, either partially or totally, it means that I consciously and deliberately express emptiness. Consequently, I value this space as empty space.
- The concepts of emptiness and fullness in their own expression, and that which is established by their relationship—whether by one, several, or all of the following causes: color, shape, number, dimension, direction, sense, etc., both of the elements expressed in the structures of the filled space, and by the significance of the empty space—produce a field of energy around them as an effect. This energy, released between opposites and achieving harmony, is the harmonic space.
- The containing space is open space. Open space has an infinite essence, an unlimited nature, and lacks structures. Lacking structures, it lacks harmony, but it can be structured and harmonized through creation.
FREE SPACE / FILLED SPACE / EMPTY SPACE
HARMONIC SPACE / OPEN SPACESpontaneously, from the very first painting I created, I established a relationship of proportionality between the width of the drawn lines and the intermediate spaces between them, and also with:- the resulting spaces between both ends of the lines /the space before the first line /the space after the last line / the sides of the structures.
To each of these spaces (before and after the first and last line, and the resulting spaces between both ends of the lines with the structures), I have attributed half the measurement given to the intermediate spaces between the lines. Therefore, joining each of these four expressed spaces with its contiguous space from the adjacent structures will form a single space, of the same measurement as the intermediate spaces. The length of the lines is determined by the dimension of the spaces between the ends of the lines and the sides of the structure.The space after the last line will join with the space before the first line, and the lower space with the upper space of the contiguous structures. Therefore, depending on whether the drawing of the lines is vertical or horizontal, their placement in each structure and their relationship with the other structures will orient them to the right or left, up or down. This develops a "continuum" of spaces and lines with successive structures. Page 22COMBINABLE Text from 1993 and 2002, exhibition catalog Geometría EL HILO DE ARIADNA 1991-2002 by ILUMINADA GARCÍA TORRES at the Municipal Exhibition Hall, Lonja del Pescado, Alicante, May 2002
Ariadne's Thread. Variable dimensions, 1991.I refer to this way of expressing the line and the spaces within the structure as "variant A." When the drawing of the lines reaches the limit of the sides of the structure, the length of the lines and the intermediate spaces will equal the measurement of the sides of the structures. Its designation is "variant B."If we make consecutive subdivisions with the structures and the lines expressed within them..., the line being a continuous succession of points, the manifestation of the ultimate consequence of the "universe matrix square" will agree with the first: the point.I consider the first and the last of the spaces to be equal, whether top or bottom, or right or left.Due to their interaction with the expressed lines, their magnitudes, their meaning, and the harmony between opposites, the spaces within the structure give rise to a single space. This happens through the fusion of the upper and lower spaces, and the right with the left space, caused by the generation of successive "universe matrix square" structures. Being open and dynamic, this process evolves toward its own expansion, creating new spaces in a continuum...The beginning and the end of the spaces, fused as a whole, form unity—being all one.THE COMPLETE ONE - THE SIMULTANEOUS ONE
THE CONTINUOUS ONE - THE EXPANSIVE ONE
THE ONE, THE POINT(Text in the left margin): Ariadne's Thread. Acrylic/linen. 180 x 180 cm, 1995. Ariadne's Thread. XCIII. Alkyd/linen. 90 x 90 cm, 1997.Page 25COMBINABLE Text from the 1993 and 2002, exhibition catalog Geometría EL HILO DE ARIADNA 1991-2002 by ILUMINADA GARCÍA TORRES at the Municipal Exhibition Hall, Lonja del Pescado, Alicante, May 2002 
By establishing a proportionality between lines and spaces in accordance with the dimensions of the matrix square structures, the possibility opens up to establish and materialize broad artistic developments. Using different mediums and new technologies, alongside its expression through color, this grants freedom to the composition, leaving its experimentation open to inspiration.Observing the proportional approach carried out and considering that it was expressive and harmonic, I became interested in understanding the reasons behind these ratios. All of this directed me toward its inquiry, and also to the fact that fulfilling this artistic conception in other mediums demanded extreme precision in measurements.The magnitudes of the line width and the intermediate spaces, in correspondence with their length, maintain a relationship with the dimensions of the matrix square structures in which they are located.The study of the proportion of these relationships is as follows:The proportion in variant "A" is:- 62.5% for the space occupied by the lines.
- 37.5% for the free spaces between the lines plus the existing spaces between them and each side of the structure (top and bottom, right and left).
This relationship means that:
For every five units of space corresponding to the lines, there are three units of space corresponding to the sum of the free spaces of the structure.The proportion of the relationship in variant "B" is:- 65% of the space attributed to the lines.
- 35% for the free spaces between the lines, and between the lines and the structure.
In this relationship, for every thirteen units of space attributed to the lines, seven units correspond to the intermediate free spaces.The proportion of the relationship between lines and space is permutable. Page 26COMBINABLE Text from 1993 and 2002, exhibition catalog Geometría EL HILO DE ARIADNA 1991-2002 by ILUMINADA GARCÍA TORRES at the Municipal Exhibition Hall, Lonja del Pescado, Alicante, May 2002 
Drawing of the Line by ILUMINADA GARCÍA TORRESSpace of the "universe matrix square." I resolve this free space by painting it with a single color, or with variations in tone, material density, etc., or by forming different color planes with the structures... And other approaches depending on the medium used.Both the chromatic expression and the technical finish of the surface of this space will elicit a relationship of broad suggestions with the strokes that are painted afterward, focusing them in this study to the line, as an essential element in my painting.When painting, I perceive that the maximum sensitive power in the expression of the line is achieved through the action of a single brush gesture for its drawing. This is because the moment—the time in which the line is drawn—is simultaneous with the space contained within the structure, and with the emotion of life transmitted to it by the painter.Since each line is expressed in a single gesture, every single one of them is unique and distinct from the others. Page 30 With the expression of the line, at the beginning of the action, since the brush is heavily loaded with paint, the resulting trail is more compact, and as it progresses, the impact of its stroke will become lighter, allowing the color of the structure's space to shine through some of its fragments, enriching it chromatically and giving the stroke a sense of visual mobility.During the drawing process, the pressure—the "heartbeat"—exerted with the brush at specific points of its path will leave greater or lesser density of paint in the wake of its track, just as if the brush were pressed again at the end, causing the paint that remained closest to its handle to release, giving a new intensity—a "dynamic heartbeat"—to the line.The brush can be used in many ways, taking advantage of its own characteristics in combination with the paint, whether more fluid or dense, etc., producing a specific imprint both in the action of drawing and in its result. This offers immense possibilities of expression, "rhythms of the heartbeat," and all of this joined with color is, wonderfully, boundless.Artwork Identification TextsAriadne's Thread. LXXXXVII. Acrylic/linen, 180 x 180 cm, 1997
Ariadne's Thread. LXXXVI. Alkyd/linen, 180 x 180 cm, 1996.Page 31 the painting: the single gesture, the brush pressure like a "heartbeat," and the density of the matter that lets the background shine through. It remains perfectly clear that every line in your work contains an irreversible moment of time and life.)COMBINABLE Text from 1993 and 2002 geometry exhibition catalog "ARIADNE'S THREAD 1991-2002" by ILUMINADA GARCÍA TORRES (1949 Elche. Spain)
I based part of my realistic painting period on the use of geometric elements in artistic composition, such as boxes and cylindrical shapes, as I was interested in representing objects in their most elemental forms. I painted them from life to gather more information about them—both regarding the communication they establish among themselves, and with space, with myself, and with light. In addition to light's influence on the composition as a whole, I particularly valued its impact on the formation of shadows cast by the elements, which reproduced other geometric shapes both inside and outside.
Soon, in a natural yet urgent way, I felt the need to express myself through sculpture, using the cube and the cylinder in their integration as basic elements for its execution and development.Page 40 · 41
COMBINABLE Text from the 1993 and 2002 geometry exhibition catalog "ARIADNE'S THREAD 1991-2002" by ILUMINADA GARCÍA TORRES (1949 Elche. Spain)The internal projection of the 25 squares into which each face of the matrix cube is subdivided produces 125 cubes (modules) within its structure.It is within these 125 modules formed in the matrix cube that the relationships and the integration of the modular elements and the cylinder, or the shapes resulting from their developments, are established.This modular concept of sculpture possesses an "infinite" dimension and a "continuous" development.The modules can be joined together to form larger ones, subdivided, or left with one of their faces open to act as a container to receive other elements, etc.The elements must be constructed in such a way that they can be assembled and complement each other successively until the sculpture I wish to express is realized.Page 44·45(Note on the diagram: In the technical illustration on the left, the mathematical markings of the circular subdivision angles can be seen, highlighting measurements such as 72°, 36°, and 18°.It is highly interesting to see how the concept of "continuous development" and "infinity" that appeared in your handwritten notes materializes here in a three-dimensional and mathematical way through the 125 modular cubes. I remain at your disposal should you wish to analyze or connect these texts at another time.)2002 Geometry Exhibition CatalogARIADNE'S THREAD 1991-2002
by ILUMINADA GARCÍA TORRES at the
Municipal Exhibition Hall, Lonja
del Pescado, Alicante, May 2002
Text from 1993 and 2002 geometry exhibition catalog "ARIADNE'S THREAD 1991-2002" by ILUMINADA GARCÍA TORRES (1949 Elche. Spain)"COMBINABLES.— It is a system of spatial language within the poetics of essentiality. It is formed through the articulation and integration of flat and curved shapes from the cube and cylinder elements, the shapes resulting from their developments, and emptiness as an active expression of the total or partial absence of any of these elements.The cylindrical shapes, in their integration with the cube, trigger a dynamic. This is brought about both by their different dimensions and numbers—drawing the circumference of their perimeter—and by the primacy of their position's verticality or horizontality. By breaking the static nature of the flatness of the wall of cubes and the rigidity of its edges, this dynamic manifests through a release of rhythms and harmonic relationships between emptiness, flat shapes, and curves, opening up the surrounding space." by ILUMINADA GARCÍA TORRES"Combinables: energy axis." Bronze and stainless steel. 3 m in height.Page 46·472002 Geometry Exhibition Catalog
ARIADNE'S THREAD El Hilo de Ariadna 1991-2002
by ILUMINADA GARCÍA TORRES at the
sala Municipal de exposiciones, LONJA
del Pescado, Alicante, From April 30 to May 28, 2002
2002catálogo exposició geometría EL HILO DE ARIADNA 1991-2002 by ILUMINADA GARCÍA TORRES en sala Municipal Exposiciones, Lonja del Pescado, Alicante mayo 2002
by ILUMINADA GARCÍA TORRES at the
Municipal Exhibition Hall, Lonja
del Pescado, Alicante. 2002 04/30 - 05/28, Alicante
Municipal Exhibition Hall, Lonja
del Pescado, Alicante. 2002 04/30 - 05/28, Alicante
TEXTS BY ILUMINADA GARCÍA-TORRES
REFLECTIONS
ILUMINADA GARCÍA-TORRES
Following the sight of the sculpture of Sleeping Ariadne in the Prado Museum, and through the oil paintings of her likeness that I painted there, I became aware that her harmony—an alchemy of power and subtlety that impressed me so deeply, sparking my fascination—was not by chance. I discovered that this harmony invokes a geometric and mathematical cosmos that now guides the poetics of my geometric painting.
Page 14·15
Text from 1993 and 2002 geometry exhibition catalog "ARIADNE'S THREAD 1991-2002" by ILUMINADA GARCÍA TORRES (1949 Elche. Spain)
Ever since the first Continuous Spatial Tracing painting, "Ariadne's Thread," the language of sensations and concepts that I progressively develop toward harmony has been expressed. Through the expression of the line layout in space, in a single gesture, an expression of the moment, established as a unity—line - space - time—within the proportional relationships with the dimensions of the structures, universe matrix square.
Poetically, the projection of "Ariadne's Thread" over the internal dynamics of the paintings flows between their lines. The uniqueness of each line drawn in space is a step forward in the trajectory toward light. All of my paintings constitute the expression of a single work.
Page 16
Geometric Art Exhibition
ARIADNE'S THREAD 1991-2002
BY ILUMINADA GARCIA TORRES
Lonja del Pescado Exhibition Hall
Alicante, 04/30 - 05/28, 2002
BY ILUMINADA GARCIA TORRES
Lonja del Pescado Exhibition Hall
Alicante, 04/30 - 05/28, 2002
The square is the container of space, and by expressing the line within it, we encompass time.
HARMONIC SPACE / OPEN SPACE
Ariadne's Thread. Variable dimensions, 1991.
I refer to this way of expressing the line and the spaces within the structure as "variant A." When the drawing of the lines reaches the limit of the sides of the structure, the length of the lines and the intermediate spaces will equal the measurement of the sides of the structures. Its designation is "variant B."
If we make consecutive subdivisions with the structures and the lines expressed within them..., the line being a continuous succession of points, the manifestation of the ultimate consequence of the "universe matrix square" will agree with the first: the point.
I consider the first and the last of the spaces to be equal, whether top or bottom, or right or left.
Due to their interaction with the expressed lines, their magnitudes, their meaning, and the harmony between opposites, the spaces within the structure give rise to a single space. This happens through the fusion of the upper and lower spaces, and the right with the left space, caused by the generation of successive "universe matrix square" structures. Being open and dynamic, this process evolves toward its own expansion, creating new spaces in a continuum...
The beginning and the end of the spaces, fused as a whole, form unity—being all one.
THE COMPLETE ONE - THE SIMULTANEOUS ONE
THE CONTINUOUS ONE - THE EXPANSIVE ONE
THE ONE, THE POINT
THE CONTINUOUS ONE - THE EXPANSIVE ONE
THE ONE, THE POINT
(Text in the left margin): Ariadne's Thread. Acrylic/linen. 180 x 180 cm, 1995. Ariadne's Thread. XCIII. Alkyd/linen. 90 x 90 cm, 1997.
Page 25
COMBINABLE Text from the 1993 and 2002, exhibition catalog Geometría EL HILO DE ARIADNA 1991-2002 by ILUMINADA GARCÍA TORRES at the Municipal Exhibition Hall, Lonja del Pescado, Alicante, May 2002
By establishing a proportionality between lines and spaces in accordance with the dimensions of the matrix square structures, the possibility opens up to establish and materialize broad artistic developments. Using different mediums and new technologies, alongside its expression through color, this grants freedom to the composition, leaving its experimentation open to inspiration.
Observing the proportional approach carried out and considering that it was expressive and harmonic, I became interested in understanding the reasons behind these ratios. All of this directed me toward its inquiry, and also to the fact that fulfilling this artistic conception in other mediums demanded extreme precision in measurements.
The magnitudes of the line width and the intermediate spaces, in correspondence with their length, maintain a relationship with the dimensions of the matrix square structures in which they are located.
The study of the proportion of these relationships is as follows:
The proportion in variant "A" is:
- 62.5% for the space occupied by the lines.
- 37.5% for the free spaces between the lines plus the existing spaces between them and each side of the structure (top and bottom, right and left).
This relationship means that:
For every five units of space corresponding to the lines, there are three units of space corresponding to the sum of the free spaces of the structure.
For every five units of space corresponding to the lines, there are three units of space corresponding to the sum of the free spaces of the structure.
The proportion of the relationship in variant "B" is:
- 65% of the space attributed to the lines.
- 35% for the free spaces between the lines, and between the lines and the structure.
In this relationship, for every thirteen units of space attributed to the lines, seven units correspond to the intermediate free spaces.
The proportion of the relationship between lines and space is permutable.
Page 26
COMBINABLE Text from 1993 and 2002, exhibition catalog Geometría EL HILO DE ARIADNA 1991-2002 by ILUMINADA GARCÍA TORRES at the Municipal Exhibition Hall, Lonja del Pescado, Alicante, May 2002
Drawing of the Line by ILUMINADA GARCÍA TORRES
Space of the "universe matrix square." I resolve this free space by painting it with a single color, or with variations in tone, material density, etc., or by forming different color planes with the structures... And other approaches depending on the medium used.
Both the chromatic expression and the technical finish of the surface of this space will elicit a relationship of broad suggestions with the strokes that are painted afterward, focusing them in this study to the line, as an essential element in my painting.
When painting, I perceive that the maximum sensitive power in the expression of the line is achieved through the action of a single brush gesture for its drawing. This is because the moment—the time in which the line is drawn—is simultaneous with the space contained within the structure, and with the emotion of life transmitted to it by the painter.
Since each line is expressed in a single gesture, every single one of them is unique and distinct from the others. Page 30
With the expression of the line, at the beginning of the action, since the brush is heavily loaded with paint, the resulting trail is more compact, and as it progresses, the impact of its stroke will become lighter, allowing the color of the structure's space to shine through some of its fragments, enriching it chromatically and giving the stroke a sense of visual mobility.
During the drawing process, the pressure—the "heartbeat"—exerted with the brush at specific points of its path will leave greater or lesser density of paint in the wake of its track, just as if the brush were pressed again at the end, causing the paint that remained closest to its handle to release, giving a new intensity—a "dynamic heartbeat"—to the line.
The brush can be used in many ways, taking advantage of its own characteristics in combination with the paint, whether more fluid or dense, etc., producing a specific imprint both in the action of drawing and in its result. This offers immense possibilities of expression, "rhythms of the heartbeat," and all of this joined with color is, wonderfully, boundless.
Artwork Identification Texts
Ariadne's Thread. LXXXXVII. Acrylic/linen, 180 x 180 cm, 1997
Ariadne's Thread. LXXXVI. Alkyd/linen, 180 x 180 cm, 1996.
Ariadne's Thread. LXXXVI. Alkyd/linen, 180 x 180 cm, 1996.
Page 31
the painting: the single gesture, the brush pressure like a "heartbeat," and the density of the matter that lets the background shine through. It remains perfectly clear that every line in your work contains an irreversible moment of time and life.)
COMBINABLE Text from 1993 and 2002 geometry exhibition catalog "ARIADNE'S THREAD 1991-2002" by ILUMINADA GARCÍA TORRES (1949 Elche. Spain)
I based part of my realistic painting period on the use of geometric elements in artistic composition, such as boxes and cylindrical shapes, as I was interested in representing objects in their most elemental forms. I painted them from life to gather more information about them—both regarding the communication they establish among themselves, and with space, with myself, and with light. In addition to light's influence on the composition as a whole, I particularly valued its impact on the formation of shadows cast by the elements, which reproduced other geometric shapes both inside and outside.
Soon, in a natural yet urgent way, I felt the need to express myself through sculpture, using the cube and the cylinder in their integration as basic elements for its execution and development.
Page 40 · 41
COMBINABLE Text from the 1993 and 2002 geometry exhibition catalog "ARIADNE'S THREAD 1991-2002" by ILUMINADA GARCÍA TORRES (1949 Elche. Spain)
The internal projection of the 25 squares into which each face of the matrix cube is subdivided produces 125 cubes (modules) within its structure.
It is within these 125 modules formed in the matrix cube that the relationships and the integration of the modular elements and the cylinder, or the shapes resulting from their developments, are established.
This modular concept of sculpture possesses an "infinite" dimension and a "continuous" development.
The modules can be joined together to form larger ones, subdivided, or left with one of their faces open to act as a container to receive other elements, etc.
The elements must be constructed in such a way that they can be assembled and complement each other successively until the sculpture I wish to express is realized.
Page 44·45
(Note on the diagram: In the technical illustration on the left, the mathematical markings of the circular subdivision angles can be seen, highlighting measurements such as 72°, 36°, and 18°.
It is highly interesting to see how the concept of "continuous development" and "infinity" that appeared in your handwritten notes materializes here in a three-dimensional and mathematical way through the 125 modular cubes. I remain at your disposal should you wish to analyze or connect these texts at another time.)
2002 Geometry Exhibition Catalog
ARIADNE'S THREAD 1991-2002
by ILUMINADA GARCÍA TORRES at the
Municipal Exhibition Hall, Lonja
del Pescado, Alicante, May 2002
by ILUMINADA GARCÍA TORRES at the
Municipal Exhibition Hall, Lonja
del Pescado, Alicante, May 2002
Text from 1993 and 2002 geometry exhibition catalog "ARIADNE'S THREAD 1991-2002" by ILUMINADA GARCÍA TORRES (1949 Elche. Spain)
"COMBINABLES.— It is a system of spatial language within the poetics of essentiality. It is formed through the articulation and integration of flat and curved shapes from the cube and cylinder elements, the shapes resulting from their developments, and emptiness as an active expression of the total or partial absence of any of these elements.
The cylindrical shapes, in their integration with the cube, trigger a dynamic. This is brought about both by their different dimensions and numbers—drawing the circumference of their perimeter—and by the primacy of their position's verticality or horizontality. By breaking the static nature of the flatness of the wall of cubes and the rigidity of its edges, this dynamic manifests through a release of rhythms and harmonic relationships between emptiness, flat shapes, and curves, opening up the surrounding space." by ILUMINADA GARCÍA TORRES
"Combinables: energy axis." Bronze and stainless steel. 3 m in height.
Page 46·47
2002 Geometry Exhibition Catalog
ARIADNE'S THREAD El Hilo de Ariadna 1991-2002
by ILUMINADA GARCÍA TORRES at the
sala Municipal de exposiciones, LONJA
del Pescado, Alicante, From April 30 to May 28, 2002
ARIADNE'S THREAD El Hilo de Ariadna 1991-2002
by ILUMINADA GARCÍA TORRES at the
sala Municipal de exposiciones, LONJA
del Pescado, Alicante, From April 30 to May 28, 2002
2002catálogo exposició geometría EL HILO DE ARIADNA 1991-2002 by ILUMINADA GARCÍA TORRES en sala Municipal Exposiciones, Lonja del Pescado, Alicante mayo 2002
TEXTS BY ILUMINADA GARCÍA-TORRES
1ª ARIADNE’S THREAD 1991-2002 geometry and texts by ILUMINADA GARCÍA-TORRES (1949ELX)Grid LayoutColumn 1 Column 2 Column 3 Column 4 Column 5 Column 6 Column 7 light vision soul poetics meaning stroke continuous expansion harmony creation life opening compass center principle magical energy point meditation assertion root trail idea sowing inspiration source focus process unison infinity column conception space cubic hermetic sphere flow reason signed daydream solar circle matrix earth humanity essence projected rhythms stroke diaphanous sky dialogue gaze concentrated sign polyhedral map circuit dynamic line awakened primordial embodiment creation sublimation glow imagination vivified pulsation identity
ARIADNE’S THREAD 1991-2002 GEOMETRY AND TEXTS BY ILUMINADA GARCÍA-TORRES (1949ELX)
COLUMN 1 COLUMN 2 COLUMN 3 COLUMN 4 COLUMN 5 COLUMN 6 COLUMN 7 LIGHT VISION SOUL POETICS MEANING STROKE CONTINUOUS EXPANSION HARMONY CREATION LIFE OPENING COMPASS CENTER PRINCIPLE MAGICAL ENERGY POINT MEDITATION ASSERTION ROOT TRAIL IDEA SOWING INSPIRATION SOURCE FOCUS PROCESS UNISON INFINITY COLUMN CONCEPTION SPACE CUBIC HERMETIC SPHERE FLOW REASON SIGNED DAYDREAM SOLAR CIRCLE MATRIX EARTH HUMANITY ESSENCE PROJECTED RHYTHMS STROKE DIAPHANOUS SKY DIALOGUE GAZE CONCENTRATED SIGN POLYHEDRAL MAP CIRCUIT DYNAMIC LINE AWAKENED PRIMORDIAL EMBODIMENT CREATION SUBLIMATION GLOW IMAGINATION VIVIFIED PULSATION IDENTITY
Column 1- light (luz)
- expansion (expansión)
- beginning / principle (principio)
- trail / wake (estela)
- unison (unísono)
- sphere (esfera)
- matrix / womb (matriz)
- diaphanous / clear (diáfano)
- map (mapa)
- creation (creación)
Column 2- vision (visión)
- harmony (armonía)
- magical (mágica)
- idea (idea)
- infinity (infinito)
- flow (flujo)
- earth (tierra)
- sky / heaven (cielo)
- circuit (circuito)
- sublimation (sublimación)
Column 3- soul (alma)
- creation (creación)
- energy (energía)
- sowing / seeding (siembra)
- column (columna)
- reason (razón)
- humanity (humanidad)
- dialogue (diálogo)
- dynamic (dinámico)
- brightness / glow (fulgor)
Column 4- poetics / poetic (poética)
- life (vida)
- point (punto)
- inspiration (inspiración)
- conception (concepción)
- signed / sealed (rubricada)
- essence (esencia)
- gaze / look (mirada)
- line (línea)
- imagination (imaginación)
Column 5- meaning / sense (acepción)
- opening (apertura)
- meditation (meditación)
- source / spring (manantial)
- space (espacio)
- daydream / reverie (ensoñación)
- projected (proyectada)
- concentrated / focused (concentrada)
- awakened (despertada)
- vivified / enlivened (vivificada)
Column 6- stroke / line (trazo)
- compass (brújula)
- assertion (aserción)
- focus (foco)
- cúbico / den (cubic)
- solar (solar)
- rhythms (ritmos)
- sign (signo)
- primordial (primordial)
- pulsation / throb (pulsación)
Column 7- continuous (continuo)
- center (centro)
- root (raíz)
- process (proceso)
- hermetic (hermético)
- circle (círculo)
- stroke / line (trazo)
- polyhedral (poliédrica)
- expression / embodiment (plasmación)
- identity (identidad)
2ª ARIADNE’S THREAD 1991-2002 geometry and texts by ILUMINADA GARCÍA-TORRES (1949ELX)2ª Grid Layout
Column 1 Column 2 Column 3 Column 4 Column 5 Column 6 Column 7 text solitude initiation universe psychic / soul flash / spark beginning / start direct crossing / journey magnetism axis time foundation path numen / inspiration realm / scope zenithal freedom action image sensation / feeling separation subtle flow / volume aura fullness thought vitality word / term influence structure art concept cosmos inner echo matter crafted / carved firmament language iridescence natural name written chromatic horizon active existence likeness / profile translation prelude silence symbol motivation edifice mental number graphic metaphor trace / footprint medullary / core integral word cadence cultivation path / way spatial choice utopia asymptote
2ª ARIADNE’S THREAD 1991-2002 geometry and texts by ILUMINADA GARCÍA-TORRES (1949 ELX)
Column 1 Column 2 Column 3 Column 4 Column 5 Column 6 Column 7 TEXT SOLITUDE INITIATION UNIVERSE PSYCHIC / SOUL FLASH / SPARK BEGINNING DIRECT CROSSING MAGNETISM AXIS TIME FOUNDATION LAYOUT NUMEN REALM ZENITHAL FREEDOM ACTION IMAGE SENSATION SEPARATION SUBTLE FLOW AURA FULLNESS THOUGHT VITALITY WORD INFLUENCE STRUCTURE ART CONCEPT COSMOS INTERIOR ECHO MATTER CRAFTED FIRMAMENT LANGUAGE IRIDESCENCE NATURAL NAME WRITTEN CHROMATIC HORIZON ACTIVE EXISTENCE LIKENESS TRANSLATION PRELUDE SILENCE SYMBOL MOTIVATION BUILDING MENTAL NUMBER GRAPHIC METAPHOR TRACE CORE INTEGRAL WORD CADENCE CULTIVATION PATH SPATIAL CHOICE UTOPIA ASYMPTOTE
2ª El HILO de ARIADNA 1991-2002 / ARIADNE’S THREAD 1991-2002
Spanish
EnglishColumna 1 Column 1 texto text directo direct numen numen / inspiration separación separation vocablo word / term eco echo nombre name traducción translation número number cadencia cadence Columna 2 Column 2 soledad solitude travesía crossing / journey ámbito realm / scope sutil subtle influencia influence materia matter escrito written preludio prelude gráfico graphic cultivo cultivation Columna 3 Column 3 iniciación initiation magnetism magnetism cenital zenithal caudal flow / abundance estructura structure labrada crafted / carved cromático chromatic silencio silence metáfora metaphor camino path / way Columna 4 Column 4 universo universe eje axis libertad freedom aura aura arte art firmamento firmament horizon horizon símbolo symbol huella trace / footprint espacial spatial Columna 5 Column 5 anímico psychic / soul tiempo time acción action plenitud fullness concepto concept lenguaje language activo active motivación motivation medular medullary / core elección choice Columna 6 Column 6 destello flash / spark cimiento foundation imagen image pensamiento thought cosmos cosmos irisación iridescence existencia existence edificio building / edifice integral integral utopía utopia Columna 7 Column 7 inicio beginning / start trazado layout / path sensación sensation / feeling vitalidad vitality interior interior / inner natural natural semblanza likeness / profile mental mental palabra word asíntota asymptote
María ILUMINADA García Torres
(1949Elx) +34696302487geometry
iluminadagarciatorres@gmail.comILUMINADA GARCÍA-TORRES visual artistBorn in Elche (Alicante) in 1949.
1964. Studies at the School of Arts and Crafts of Alicante.
1965-70. Admission and studies of ILUMINADA GARCÍA-TORRES at the San Fernando Royal Academy of Fine Arts and the Complutense University of Madrid (UCM). In her first year, she is a student of the painter Antonio López, with whom she paints again in the workshop he teaches in 1984 at the Círculo de Bellas Artes in Madrid. She is also a student of the geometric painter Eusebio Sempere in 1969.Solo exhibitions:
1976. Provincial Council Museum of Badajoz.
1978. Savings Bank and Mount of Piety of Ávila.
1980. Sorolla Gallery, Elche.
1985. TORREÓN de LOZOYA, Segovia.
1990. Holds her last realist painting exhibition at the ALBATROS Gallery, MADRID. Here, she presents compositions with geometric objects of a metaphysical essence and paintings inspired by the marble sculpture "Sleeping Ariadne" that she painted at the Prado Museum, which marks the starting point of her new geometric artistic path.
1991. Begins her work in GEOMETRIC ABSTRACTION: Digital, Painting, Sculpture, "Combinables", "Continuous Spatial Tracing", "Ariadne's Thread".
1993. Exhibits at the Caja de Ahorros del Mediterráneo (CAM Alicante) and publishes her square-matrix mathematical-geometric unity Proposal in the catalog: "COMBINABLES", "Continuous Spatial Tracing", and "Ariadne's Thread". In sculpture, she explores the spatial articulation of flat shapes and the curves of the cube and cylinder.
1996. "Geometrías" Exhibition, organized by the Juan Gil-Albert Alicante Institute of Culture. Provincial Council of Alicante1997. Establishes herself in London.
1998-99. Invited as a plastic artist by Gasworks Studios and Gallery, London.
2000. Exhibits at Hortensia Art Gallery, of Kensington & Chelsea College, London, and the Museum of Contemporary Art of Elche.
2001. Exhibits ceramic sculpture at the House of Culture of El Campello.
2002. Installs her sculpture "Combinables. Energy Axis" at the Plaza de San Juan in Elche. Exhibits another sculpture in the collection of the Capa Foundation, at the Santa Bárbara Castle in Alicante; Municipal Exhibition Hall -Fish Market-, Alicante.Group Exhibitions:1969. II Sports Biennial in Fine Arts, Palacio del Retiro, Madrid.
1989. First Santa Lucía Painting Competition, Madrid.
1992. Iberico 2000 91/92, Barcelona.
1993. Botanical Garden, "Women in Art", Madrid.- II Iberdrola-UEX Competition, Badajoz.
1994. Brita Prinz Gallery, Madrid.- X L'Oreal Painting Prize, Conde Duque Cultural Center, Madrid.- "40 + 10 - Twelve Spanish Artists", C.C. Conde Duque, Madrid.
1995. X L'Oreal Painting Prize Aris & European Dialogues, Maison des Arts Georges Pompidou, Cajarc (France).- Brita Prinz Gallery, Madrid.- XI L'Oreal Painting Prize, C.C. Conde Duque, Madrid.
1996. Geometries. House of Culture, Villena.- XIV "Carlos Haes" Painting Prize, College of Engineers of Roads, Madrid.- Villa de Madrid Prize, Francisco de Goya, C.C. Conde Duque, Madrid.- XII L'Oreal Painting Prize, C.C. Conde Duque, Madrid.
1997. Villa de Madrid Prizes, Mariano Benlliure, Sculpture, and Francisco de Goya, Painting, Madrid.- XIII L'Oreal Painting Prize, C.C. Conde Duque, Madrid.
2001. XVII L'Oreal Painting Prize, C.C. Conde Duque, Madrid.
2002. I International Sculpture Prize Eduardo Capa Foundation, Santa Bárbara Castle, Alicante. Awards: 1996. "Carlos Haes" Painting Prize. College of Civil Engineers (Roads, Canals, and Ports), Madrid. 2000. Sculpture selection, public space, Elche.Museums and Collections:- Provincial Museum of Fine Arts, Badajoz./ TORREÒN de LOZOYA. SEGOVIA./ College of Civil Engineers (Roads, Canals, and Ports), MADRID./ "Juan Gil-Albert" Institute of Culture. Visual Communication and Art -Eusebio Sempere-.ALICANTE./ SUMA, Tax Management, Provincial Council of Alicante./ National Library España BNE, MADRID,/ Museum of Contemporary Art, Elche. Sculpture -combinable energy axis- at the Plaza de San Juan, Elche.
(page 62):2002 exhibition catalogue geometry ARIADNE'S THREAD 1991-2002 by ILUMINADA GARCÍA TORRES at the Municipal Exhibition Hall, Fish Market, Alicante May 2002page 62 | 63ILUMINADA GARCÍA-TORRES“ARIADNE'S THREAD”, 1991-2002Organized by:
EXCELLENT CITY COUNCIL OF ALICANTE
Municipal Patronage of CultureCurator:
JOSÉ MANUEL ÁLVAREZ ENJUTOTexts:
JOSÉ MANUEL ÁLVAREZ ENJUTO
ILUMINADA GARCÍA TORRESPhotographs:
ALBERTO
MATEO GAMÓN
ANTONIO MUÑOZ
I.G.-T.CATALOGPublished by: EXCELLENT CITY COUNCIL OF ALICANTE
Municipal Patronage of CultureDesign and Layout:
Antonio Piqueras / Gráficas Díaz
I.G.-T.Printed by:
Gráficas DÍAZ, S.L. San Vicente/Alicante Legal Deposit: A.475-2002 Page 642002 Geometry Exhibition Catalog
ARIADNE'S THREAD El Hilo de Ariadna 1991-2002
by ILUMINADA GARCÍA TORRES at the
sala Municipal de exposiciones, LONJA
del Pescado, Alicante, From April 30 to May 28, 2002
1ª ARIADNE’S THREAD 1991-2002 geometry and texts by ILUMINADA GARCÍA-TORRES (1949ELX)
Grid Layout
| Column 1 | Column 2 | Column 3 | Column 4 | Column 5 | Column 6 | Column 7 |
|---|---|---|---|---|---|---|
| light | vision | soul | poetics | meaning | stroke | continuous |
| expansion | harmony | creation | life | opening | compass | center |
| principle | magical | energy | point | meditation | assertion | root |
| trail | idea | sowing | inspiration | source | focus | process |
| unison | infinity | column | conception | space | cubic | hermetic |
| sphere | flow | reason | signed | daydream | solar | circle |
| matrix | earth | humanity | essence | projected | rhythms | stroke |
| diaphanous | sky | dialogue | gaze | concentrated | sign | polyhedral |
| map | circuit | dynamic | line | awakened | primordial | embodiment |
| creation | sublimation | glow | imagination | vivified | pulsation | identity |
ARIADNE’S THREAD 1991-2002 GEOMETRY AND TEXTS BY ILUMINADA GARCÍA-TORRES (1949ELX)
| COLUMN 1 | COLUMN 2 | COLUMN 3 | COLUMN 4 | COLUMN 5 | COLUMN 6 | COLUMN 7 |
|---|---|---|---|---|---|---|
| LIGHT | VISION | SOUL | POETICS | MEANING | STROKE | CONTINUOUS |
| EXPANSION | HARMONY | CREATION | LIFE | OPENING | COMPASS | CENTER |
| PRINCIPLE | MAGICAL | ENERGY | POINT | MEDITATION | ASSERTION | ROOT |
| TRAIL | IDEA | SOWING | INSPIRATION | SOURCE | FOCUS | PROCESS |
| UNISON | INFINITY | COLUMN | CONCEPTION | SPACE | CUBIC | HERMETIC |
| SPHERE | FLOW | REASON | SIGNED | DAYDREAM | SOLAR | CIRCLE |
| MATRIX | EARTH | HUMANITY | ESSENCE | PROJECTED | RHYTHMS | STROKE |
| DIAPHANOUS | SKY | DIALOGUE | GAZE | CONCENTRATED | SIGN | POLYHEDRAL |
| MAP | CIRCUIT | DYNAMIC | LINE | AWAKENED | PRIMORDIAL | EMBODIMENT |
| CREATION | SUBLIMATION | GLOW | IMAGINATION | VIVIFIED | PULSATION | IDENTITY |
Column 1
- light (luz)
- expansion (expansión)
- beginning / principle (principio)
- trail / wake (estela)
- unison (unísono)
- sphere (esfera)
- matrix / womb (matriz)
- diaphanous / clear (diáfano)
- map (mapa)
- creation (creación)
Column 2
- vision (visión)
- harmony (armonía)
- magical (mágica)
- idea (idea)
- infinity (infinito)
- flow (flujo)
- earth (tierra)
- sky / heaven (cielo)
- circuit (circuito)
- sublimation (sublimación)
Column 3
- soul (alma)
- creation (creación)
- energy (energía)
- sowing / seeding (siembra)
- column (columna)
- reason (razón)
- humanity (humanidad)
- dialogue (diálogo)
- dynamic (dinámico)
- brightness / glow (fulgor)
Column 4
- poetics / poetic (poética)
- life (vida)
- point (punto)
- inspiration (inspiración)
- conception (concepción)
- signed / sealed (rubricada)
- essence (esencia)
- gaze / look (mirada)
- line (línea)
- imagination (imaginación)
Column 5
- meaning / sense (acepción)
- opening (apertura)
- meditation (meditación)
- source / spring (manantial)
- space (espacio)
- daydream / reverie (ensoñación)
- projected (proyectada)
- concentrated / focused (concentrada)
- awakened (despertada)
- vivified / enlivened (vivificada)
Column 6
- stroke / line (trazo)
- compass (brújula)
- assertion (aserción)
- focus (foco)
- cúbico / den (cubic)
- solar (solar)
- rhythms (ritmos)
- sign (signo)
- primordial (primordial)
- pulsation / throb (pulsación)
Column 7
- continuous (continuo)
- center (centro)
- root (raíz)
- process (proceso)
- hermetic (hermético)
- circle (círculo)
- stroke / line (trazo)
- polyhedral (poliédrica)
- expression / embodiment (plasmación)
- identity (identidad)
2ª ARIADNE’S THREAD 1991-2002 geometry and texts by ILUMINADA GARCÍA-TORRES (1949ELX)
2ª Grid Layout
| Column 1 | Column 2 | Column 3 | Column 4 | Column 5 | Column 6 | Column 7 |
|---|---|---|---|---|---|---|
| text | solitude | initiation | universe | psychic / soul | flash / spark | beginning / start |
| direct | crossing / journey | magnetism | axis | time | foundation | path |
| numen / inspiration | realm / scope | zenithal | freedom | action | image | sensation / feeling |
| separation | subtle | flow / volume | aura | fullness | thought | vitality |
| word / term | influence | structure | art | concept | cosmos | inner |
| echo | matter | crafted / carved | firmament | language | iridescence | natural |
| name | written | chromatic | horizon | active | existence | likeness / profile |
| translation | prelude | silence | symbol | motivation | edifice | mental |
| number | graphic | metaphor | trace / footprint | medullary / core | integral | word |
| cadence | cultivation | path / way | spatial | choice | utopia | asymptote |
2ª ARIADNE’S THREAD 1991-2002 geometry and texts by ILUMINADA GARCÍA-TORRES (1949 ELX)
| Column 1 | Column 2 | Column 3 | Column 4 | Column 5 | Column 6 | Column 7 |
|---|---|---|---|---|---|---|
| TEXT | SOLITUDE | INITIATION | UNIVERSE | PSYCHIC / SOUL | FLASH / SPARK | BEGINNING |
| DIRECT | CROSSING | MAGNETISM | AXIS | TIME | FOUNDATION | LAYOUT |
| NUMEN | REALM | ZENITHAL | FREEDOM | ACTION | IMAGE | SENSATION |
| SEPARATION | SUBTLE | FLOW | AURA | FULLNESS | THOUGHT | VITALITY |
| WORD | INFLUENCE | STRUCTURE | ART | CONCEPT | COSMOS | INTERIOR |
| ECHO | MATTER | CRAFTED | FIRMAMENT | LANGUAGE | IRIDESCENCE | NATURAL |
| NAME | WRITTEN | CHROMATIC | HORIZON | ACTIVE | EXISTENCE | LIKENESS |
| TRANSLATION | PRELUDE | SILENCE | SYMBOL | MOTIVATION | BUILDING | MENTAL |
| NUMBER | GRAPHIC | METAPHOR | TRACE | CORE | INTEGRAL | WORD |
| CADENCE | CULTIVATION | PATH | SPATIAL | CHOICE | UTOPIA | ASYMPTOTE |
2ª El HILO de ARIADNA 1991-2002 / ARIADNE’S THREAD 1991-2002
Spanish | English |
|---|---|
| Columna 1 | Column 1 |
| texto | text |
| directo | direct |
| numen | numen / inspiration |
| separación | separation |
| vocablo | word / term |
| eco | echo |
| nombre | name |
| traducción | translation |
| número | number |
| cadencia | cadence |
| Columna 2 | Column 2 |
| soledad | solitude |
| travesía | crossing / journey |
| ámbito | realm / scope |
| sutil | subtle |
| influencia | influence |
| materia | matter |
| escrito | written |
| preludio | prelude |
| gráfico | graphic |
| cultivo | cultivation |
| Columna 3 | Column 3 |
| iniciación | initiation |
| magnetism | magnetism |
| cenital | zenithal |
| caudal | flow / abundance |
| estructura | structure |
| labrada | crafted / carved |
| cromático | chromatic |
| silencio | silence |
| metáfora | metaphor |
| camino | path / way |
| Columna 4 | Column 4 |
| universo | universe |
| eje | axis |
| libertad | freedom |
| aura | aura |
| arte | art |
| firmamento | firmament |
| horizon | horizon |
| símbolo | symbol |
| huella | trace / footprint |
| espacial | spatial |
| Columna 5 | Column 5 |
| anímico | psychic / soul |
| tiempo | time |
| acción | action |
| plenitud | fullness |
| concepto | concept |
| lenguaje | language |
| activo | active |
| motivación | motivation |
| medular | medullary / core |
| elección | choice |
| Columna 6 | Column 6 |
| destello | flash / spark |
| cimiento | foundation |
| imagen | image |
| pensamiento | thought |
| cosmos | cosmos |
| irisación | iridescence |
| existencia | existence |
| edificio | building / edifice |
| integral | integral |
| utopía | utopia |
| Columna 7 | Column 7 |
| inicio | beginning / start |
| trazado | layout / path |
| sensación | sensation / feeling |
| vitalidad | vitality |
| interior | interior / inner |
| natural | natural |
| semblanza | likeness / profile |
| mental | mental |
| palabra | word |
| asíntota | asymptote |
María ILUMINADA García Torres
(1949Elx) +34696302487geometry
iluminadagarciatorres@gmail.com
(1949Elx) +34696302487geometry
iluminadagarciatorres@gmail.com
ILUMINADA GARCÍA-TORRES visual artist
Born in Elche (Alicante) in 1949.
1964. Studies at the School of Arts and Crafts of Alicante.
1965-70. Admission and studies of ILUMINADA GARCÍA-TORRES at the San Fernando Royal Academy of Fine Arts and the Complutense University of Madrid (UCM). In her first year, she is a student of the painter Antonio López, with whom she paints again in the workshop he teaches in 1984 at the Círculo de Bellas Artes in Madrid. She is also a student of the geometric painter Eusebio Sempere in 1969.
1964. Studies at the School of Arts and Crafts of Alicante.
1965-70. Admission and studies of ILUMINADA GARCÍA-TORRES at the San Fernando Royal Academy of Fine Arts and the Complutense University of Madrid (UCM). In her first year, she is a student of the painter Antonio López, with whom she paints again in the workshop he teaches in 1984 at the Círculo de Bellas Artes in Madrid. She is also a student of the geometric painter Eusebio Sempere in 1969.
Solo exhibitions:
1976. Provincial Council Museum of Badajoz.
1978. Savings Bank and Mount of Piety of Ávila.
1980. Sorolla Gallery, Elche.
1985. TORREÓN de LOZOYA, Segovia.
1990. Holds her last realist painting exhibition at the ALBATROS Gallery, MADRID. Here, she presents compositions with geometric objects of a metaphysical essence and paintings inspired by the marble sculpture "Sleeping Ariadne" that she painted at the Prado Museum, which marks the starting point of her new geometric artistic path.
1991. Begins her work in GEOMETRIC ABSTRACTION: Digital, Painting, Sculpture, "Combinables", "Continuous Spatial Tracing", "Ariadne's Thread".
1993. Exhibits at the Caja de Ahorros del Mediterráneo (CAM Alicante) and publishes her square-matrix mathematical-geometric unity Proposal in the catalog: "COMBINABLES", "Continuous Spatial Tracing", and "Ariadne's Thread". In sculpture, she explores the spatial articulation of flat shapes and the curves of the cube and cylinder.
1996. "Geometrías" Exhibition, organized by the Juan Gil-Albert Alicante Institute of Culture. Provincial Council of Alicante
1997. Establishes herself in London.1976. Provincial Council Museum of Badajoz.
1978. Savings Bank and Mount of Piety of Ávila.
1980. Sorolla Gallery, Elche.
1985. TORREÓN de LOZOYA, Segovia.
1990. Holds her last realist painting exhibition at the ALBATROS Gallery, MADRID. Here, she presents compositions with geometric objects of a metaphysical essence and paintings inspired by the marble sculpture "Sleeping Ariadne" that she painted at the Prado Museum, which marks the starting point of her new geometric artistic path.
1991. Begins her work in GEOMETRIC ABSTRACTION: Digital, Painting, Sculpture, "Combinables", "Continuous Spatial Tracing", "Ariadne's Thread".
1993. Exhibits at the Caja de Ahorros del Mediterráneo (CAM Alicante) and publishes her square-matrix mathematical-geometric unity Proposal in the catalog: "COMBINABLES", "Continuous Spatial Tracing", and "Ariadne's Thread". In sculpture, she explores the spatial articulation of flat shapes and the curves of the cube and cylinder.
1996. "Geometrías" Exhibition, organized by the Juan Gil-Albert Alicante Institute of Culture. Provincial Council of Alicante
1998-99. Invited as a plastic artist by Gasworks Studios and Gallery, London.
2000. Exhibits at Hortensia Art Gallery, of Kensington & Chelsea College, London, and the Museum of Contemporary Art of Elche.
2001. Exhibits ceramic sculpture at the House of Culture of El Campello.
2002. Installs her sculpture "Combinables. Energy Axis" at the Plaza de San Juan in Elche. Exhibits another sculpture in the collection of the Capa Foundation, at the Santa Bárbara Castle in Alicante; Municipal Exhibition Hall -Fish Market-, Alicante.
Group Exhibitions:
1969. II Sports Biennial in Fine Arts, Palacio del Retiro, Madrid.
1989. First Santa Lucía Painting Competition, Madrid.
1992. Iberico 2000 91/92, Barcelona.
1993. Botanical Garden, "Women in Art", Madrid.- II Iberdrola-UEX Competition, Badajoz.
1994. Brita Prinz Gallery, Madrid.- X L'Oreal Painting Prize, Conde Duque Cultural Center, Madrid.- "40 + 10 - Twelve Spanish Artists", C.C. Conde Duque, Madrid.
1995. X L'Oreal Painting Prize Aris & European Dialogues, Maison des Arts Georges Pompidou, Cajarc (France).- Brita Prinz Gallery, Madrid.- XI L'Oreal Painting Prize, C.C. Conde Duque, Madrid.
1996. Geometries. House of Culture, Villena.- XIV "Carlos Haes" Painting Prize, College of Engineers of Roads, Madrid.- Villa de Madrid Prize, Francisco de Goya, C.C. Conde Duque, Madrid.- XII L'Oreal Painting Prize, C.C. Conde Duque, Madrid.
1997. Villa de Madrid Prizes, Mariano Benlliure, Sculpture, and Francisco de Goya, Painting, Madrid.- XIII L'Oreal Painting Prize, C.C. Conde Duque, Madrid.
2001. XVII L'Oreal Painting Prize, C.C. Conde Duque, Madrid.
2002. I International Sculpture Prize Eduardo Capa Foundation, Santa Bárbara Castle, Alicante.
1989. First Santa Lucía Painting Competition, Madrid.
1992. Iberico 2000 91/92, Barcelona.
1993. Botanical Garden, "Women in Art", Madrid.- II Iberdrola-UEX Competition, Badajoz.
1994. Brita Prinz Gallery, Madrid.- X L'Oreal Painting Prize, Conde Duque Cultural Center, Madrid.- "40 + 10 - Twelve Spanish Artists", C.C. Conde Duque, Madrid.
1995. X L'Oreal Painting Prize Aris & European Dialogues, Maison des Arts Georges Pompidou, Cajarc (France).- Brita Prinz Gallery, Madrid.- XI L'Oreal Painting Prize, C.C. Conde Duque, Madrid.
1996. Geometries. House of Culture, Villena.- XIV "Carlos Haes" Painting Prize, College of Engineers of Roads, Madrid.- Villa de Madrid Prize, Francisco de Goya, C.C. Conde Duque, Madrid.- XII L'Oreal Painting Prize, C.C. Conde Duque, Madrid.
1997. Villa de Madrid Prizes, Mariano Benlliure, Sculpture, and Francisco de Goya, Painting, Madrid.- XIII L'Oreal Painting Prize, C.C. Conde Duque, Madrid.
2001. XVII L'Oreal Painting Prize, C.C. Conde Duque, Madrid.
2002. I International Sculpture Prize Eduardo Capa Foundation, Santa Bárbara Castle, Alicante.
Awards: 1996. "Carlos Haes" Painting Prize. College of Civil Engineers (Roads, Canals, and Ports), Madrid. 2000. Sculpture selection, public space, Elche.
Museums and Collections:
- Provincial Museum of Fine Arts, Badajoz./ TORREÒN de LOZOYA. SEGOVIA./ College of Civil Engineers (Roads, Canals, and Ports), MADRID./ "Juan Gil-Albert" Institute of Culture. Visual Communication and Art -Eusebio Sempere-.ALICANTE./ SUMA, Tax Management, Provincial Council of Alicante./ National Library España BNE, MADRID,/ Museum of Contemporary Art, Elche. Sculpture -combinable energy axis- at the Plaza de San Juan, Elche.
(page 62):
2002 exhibition catalogue geometry ARIADNE'S THREAD 1991-2002 by ILUMINADA GARCÍA TORRES at the Municipal Exhibition Hall, Fish Market, Alicante May 2002
page 62 | 63
ILUMINADA GARCÍA-TORRES
“ARIADNE'S THREAD”, 1991-2002
Organized by:
EXCELLENT CITY COUNCIL OF ALICANTE
Municipal Patronage of Culture
EXCELLENT CITY COUNCIL OF ALICANTE
Municipal Patronage of Culture
Curator:
JOSÉ MANUEL ÁLVAREZ ENJUTO
JOSÉ MANUEL ÁLVAREZ ENJUTO
Texts:
JOSÉ MANUEL ÁLVAREZ ENJUTO
ILUMINADA GARCÍA TORRES
JOSÉ MANUEL ÁLVAREZ ENJUTO
ILUMINADA GARCÍA TORRES
Photographs:
ALBERTO
MATEO GAMÓN
ANTONIO MUÑOZ
I.G.-T.
ALBERTO
MATEO GAMÓN
ANTONIO MUÑOZ
I.G.-T.
CATALOG
Published by: EXCELLENT CITY COUNCIL OF ALICANTE
Municipal Patronage of Culture
Municipal Patronage of Culture
Design and Layout:
Antonio Piqueras / Gráficas Díaz
I.G.-T.
Antonio Piqueras / Gráficas Díaz
I.G.-T.
Printed by:
Gráficas DÍAZ, S.L. San Vicente/Alicante Legal Deposit: A.475-2002 Page 64
Gráficas DÍAZ, S.L. San Vicente/Alicante Legal Deposit: A.475-2002 Page 64
2002 Geometry Exhibition Catalog
ARIADNE'S THREAD El Hilo de Ariadna 1991-2002
by ILUMINADA GARCÍA TORRES at the
sala Municipal de exposiciones, LONJA
del Pescado, Alicante, From April 30 to May 28, 2002
ARIADNE'S THREAD El Hilo de Ariadna 1991-2002
by ILUMINADA GARCÍA TORRES at the
sala Municipal de exposiciones, LONJA
del Pescado, Alicante, From April 30 to May 28, 2002
María ILUMINADA García Torres
(1949Elx) +34696302487geometry
iluminadagarciatorres@gmail.com
(1949Elx) +34696302487geometry
iluminadagarciatorres@gmail.com
