diagram-musicality.
iluminadagarciatorres.blogspot.com
THE ESSENCE OF ARIADNA by Vicente Verdú 7/04/2000
Exhibition Catalogue: Continuous Spatial Layout - Ariadne's Thread
Geometric Art by ILUMINADA GARCÍA-TORRES (Elche 1949, Spain)
ILUMINADA GARCÍA-TORRES (Elche 1949) repeatedly mentions, when referring to her current paintings, that the origin of her evolution rests upon the profound discovery (she painted two oil canvases 1986-87) of the sculpture "Sleeping Ariadne" in the Museo del Prado more than ten years ago. At first glance, anyone would be surprised by the radical evolution that unfolds from her first paintings—where rounded classical forms were recreated—to these current geometric and chromatic exercises detached from figuration. In appearance, the present could be interpreted as a break with the past, and the distinct current experience as a way of escaping the objective adventure of yesteryear.
The magic, however, of Iluminada García-Torres’s painting is that it constitutes, from beginning to end, a single task of inquiry, as rigorous and truthful as that which the painters most committed to the truth of their craft have undertaken throughout history. Art is a form of communication and a form of knowledge, and its history oscillates upon the different proportions of this double composition.
The work of Iluminada García-Torres is distanced by conviction and temperament from international fashions and sensationalist tricks or the mannerisms that adapt to the conventions of the present day. For many years [she has worked] almost in solitude, both inside and outside of Spain.
ILUMINADA GARCIA-TORRES (Elche 1949) has been advancing in a purification of her inquiries. From the contemplation of the classical marble sculpture, "Sleeping Ariadne", she did not obtain, as definitive, the visible booty of its ostentatious rotundity, but rather delved even beyond its marble effigy, into its structure, and beyond its structure, into the "drawing of its music." She called this exploration a path in pursuit of harmony, and with that obsessive tenacity, she has been obtaining the purest particles of the composition.
Now, in the paintings, geometric figures are perceived—expressions of a series of elementary motifs as if, in the research process, Iluminada García-Torres had managed to glimpse and isolate the genetic sequence of the original sculpture. Her fascination for that marble—which she painted from two perspectives, recreated in different landscapes, and dreamed of in endless versions—has been definitively revealed to her in the terms of its enigma.
What now appears projected on the squares is the linear architecture of that corporeality, because the time destined for the essentiality and abstraction of the object has reached this fundamental secret, its very primary DNA. Upon the canvas, the body of "Ariadne's Thread" does not appear, but rather its genome deconstructed into lines and color; its soul portrayed in the impalpable quality of the harmony that the canvas delivers as a synthesis of the primordial. Few painters are capable of having maintained such a severe and deep fidelity to the vocation of knowledge, and few have added to it an honesty so firmly established in principles. Thanks to a small group of artists like ILUMINADA GARCIA-TORRES, art continues living and reclaiming its necessity, oblivious to utilitarian artifice.
THE ESSENCE OF ARIADNA by Vicente Verdú (04/07/2000) https://geometria/trazado-espacial-continuo-Hilo-de-Ariadna-by-ILUMINADA-GARCIA-TORRES-centro-municipal-exposiciones-de-ELCHE-2000
net-squares-lines.blogspot.com
Geometric-digital art project by visual artist ILUMINADA GARCIA-TORRES (b.1949 Elche, SPAIN): The lines drawn in each 'mathematical unit-matrix square'—with sides consisting of four communicating horizons expanded into musical cartographies aligned with the sides of adjacent squares—release a 'continuum' of ethereal rhythms. These rhythms express a perception of diverse cities and countries within the computer-generated variables of the mathematical concept (1991), maintaining geometric potential until achieving the harmony of the digital Musicality diagrams: Sweden-Beijing-Africa-Madrid-Greece-New York-Brooklyn-Mumbai Bombay-Europe-Tokyo-Paris-Nepal-Berlin-Latin America-Universe.
geometria-color-musicality.
thethreadofariadne-musicality.blogspot.com 2014
music-numerical.blogspot.com Berlin 2015
musica-numerico.blogspot.com Madrid 2015
numerical-musicality.blogspot.com Europa
musicality-numerical.blogspot.com mumbai 2015
lines-numerical.blogspot.com Sweden 2015
music-numerical-drawings.blogspot.com AFRICA
cartography-musicality.blogspot.com NY
musicality-numerical-drawings.blogspot.com tokyo
continuous-spatial-design.blogspot.com PARIS
gravitationalwaves-music.blogspot.com1990
pixel-pixels-design.blogspot.com 2003
PIXELS, THE TRACE OF THE STROKE
Catalogue text by JOAQUÍN SANTO MATAS 2003
Exhibition "ARIADNE'S THREAD-COMBINATORICS" by ILUMINADA GARCÍA-TORRES
Municipal Center of the Arts, Alicante. December 12-17, 2003
ILUMINADA GARCÍA-TORRES (Elche 1949) presents in this exhibition, with work from the series "ARIADNE'S THREAD-COMBINATORICS," her new stage of digital geometry with which she fully enters into experimentation with new technologies. The result is an innovative, rigorous, and coherent language that we can observe in the evolution of her work, whose genesis is found in the realism of her master Antonio López; a realism that Iluminada could continue practicing with agile ability and from which she assimilated measurement and the direct stroke—gesture.
Pablo Picasso said in a brilliant phrase that one must distinguish the painter, who is the one who paints what he sells, from the artist, who is the one who sells what he paints. And Iluminada has not commercialized her work seeking the easy sale; on the contrary, she has altered the Latin aphorism and applies a peculiar primum filosofare, deinde vivere [first philosophize, then live].
Absorbed by the sublime sculpture Ariadne that she painted on two canvases in the Prado Museum, Iluminada García-Torres attempts to untangle her creative ball of yarn to exit the labyrinth of an overwhelming plastic capacity, remembering the thread of that Cretan goddess.
Analyzing the relations of figures in the plane and in space, she drifted toward a geometric abstraction that she would assimilate, almost unconsciously, from the brief classes she received in Madrid from the fellow Alicante native Eusebio Sempere.
The traced lines, executed in a dynamic way, with a single gesture, maintain a relationship of proportionality with space, mathematics and geometry, time and light. And the origin of that continuous spatial tracing must be sought more than a decade ago in her Combinables.
It is for this reason that in her works we contemplate geometries capable of being multiplied infinitely thanks to chromatic combinations and digital processes.
ILUMINADA GARCÍA-TORRES does not hide the connection of her art with technological advances, aware that computer science facilitates experimentation in formats different from the traditional ones. In them, she also uses as a starting point original strokes and gestures articulated in the space of squares that follow rhythmic sequences, which, in this new stage, derive into the digitalization of the gesture, thus constituting pixels as the new structure of the stroke, its trace.
Digital printing is the technique chosen by Iluminada García-Torres in the present exhibition. The results of her work on large-format canvases are surprising in this renewed version of engraving in the third millennium, these canvases being susceptible to continue being painted in successive spontaneous brushstrokes.
This exhibition, belonging to the hundred works that configure the Amérigo Collection, can be contemplated in Alicante at the Hotel of the same name. In this new framework—open or restricted space, fleeting passage, rest, and art—the geometric works of Iluminada García-Torres (what a great name for a painter) will never be mere decorative elements, but will lead us into a world of harmonies fused with Mediterranean light, where celestial and marine blues, earthy and solar ochres, and the violet tones of a dawning on the horizon—which is the line from which all forms emerge—prevail.
JOAQUÍN SANTO MATAS
Director of the Juan Gil-Albert Institute of Alicante Culture
November, 2003 Digital geometric art by ILUMINADA GARCÍA-TORRES. Exhibition "Ariadne's Thread-Combinatorics," AMÉRIGO Collection catalogue. Municipal Center of the Arts, Alicante. December 12-17, 2003. https://el-hilo-ariadna-combinatoria-by-ILUMINADA-GARCIA-TORRES/centro-municipal-artes-Alicante-2003 pixel-pixels-design.blogspot.com 2003
https://www.instagram.com/iluminadagarciatorres/
2007 Exhibition: VI Mostra of Electronic Art of Móstoles (MAEM 07) OSMOSIS, Madrid. Centro Cultural Villa de Móstoles (MADRID) (29/10 - 16/11 2007) Text by Juan Antonio Lleó. Participating visual Artist: ILUMINADA GARCÍA-TORRES (Elche, 1949) with two works of digital Geometric Art. Catalogue Image: "Ariadne’s Thread – Music" (2007). Digital print on canvas. 200 x 100 cm.
"Through series of rhythmic sequences—paralleling the world of minimal music—her work incorporates new technologies applied to art. These offer us geometries of infinite development thanks to chromatic combinations where the brushstroke is now structured by the pixel (picture element).
Using digital media, Iluminada García-Torres has created the works Ariadne’s Thread – In Progress Utopia-Music, which mark the beginning of a new series based on musical language. This artist has successfully identified and manipulated the aesthetic aspects offered by musical notation graphics, allowing her to develop formal investigations and suggest all types of virtual movements."
— Text by Pascual Patuel Chust, University of Valencia (Extracted from the catalogue "The Sounds of Valencian Painting," exhibition "Music and Art II," Palau de la Música de Valencia, 2004).
el-hilo-digital.blogspot.com 2005-07
gravitationalwaves-music.blogspot.com1990
Interview by Miguel Fernández-Cid. Diario 16, Dec 5, 1990
To ILUMINADA GARCÍA-TORRES (Elche 1949, Spain)
"The Intimate and Individual Painting of Iluminada García"
Iluminada García Torres (Elche, Alicante, 1949) is exhibiting at the Albatros Gallery until early January, marking her solo debut in Madrid. A self-portrait on a backdrop of silhouetted mountains introduces two easily distinguishable groups of work. On one side are the pieces inspired by her fascination with a Hellenistic sculpture of Ariadne. Her treatment of Ariadne in foreshortening ranges from Sorolla-esque hues to interpretations in darker tones, with the sea and a diluted landscape as a backdrop.
"I went to the Prado Museum looking for an image that would unsettle me, and I found this sculpture. I first painted her from the front, but she continued to seduce me; in another canvas, I painted her from behind, which was already an act of daring. I returned several times, imagined a landscape in the background—a landscape that grew and changed as I painted it... and I know I will return to this Ariadne again, because it is impossible for me to forget her perfection, her harmony, her mathematical control."
"I was born by the sea and, although I came to Madrid at sixteen to study Fine Arts, its presence is always close to me. I notice it in the need to include a horizon line—a reference to space—in every painting."
The intimate nature of her painting is most evident in the series where, starting from the idea and minimal elements of a still life, she derives architectural formulas. Morandi, the Metaphysical painters, and the Quattrocento masters are never far from a style that ultimately reveals itself as warm and personal: "For me, the essential thing is the relationship with objects—entering into a dialogue with them so that the painting responds to what they demand."
A few bars and a box on a table serve to construct a clean still life of "absences." Seen from another angle, these same elements are arranged like a labyrinth, carrying a sense of mystery that her painting constantly evokes. Iluminada García insists on following the rhythm dictated by her work. She feels detached from artistic groups and rejects easy classifications:
"An object is different depending on how we see it; the proximity of another object modifies it. How can one not understand that painting is an individual battle?" Interview by Miguel Fernández-Cid. Diario 16, Dec 5, 1990 To ILUMINADA GARCÍA-TORRES (Elche 1949, Spain)
diagram-musicality.
iluminadagarciatorres.blogspot.com
ILUMINADA GARCÍA-TORRES (Elche 1949, Spain) At the age of 16, she entered the San Fernando Royal Academy of Fine Arts in Madrid; by 19, she was already acquainted with the Computing Center at the Complutense University. After a highly regarded realist period spanning 20 years, she made the leap in the early 90s to geometric abstraction in painting, sculpture, and digital imaging. Since 1994, 18 silkscreen prints by this artist from Elche have been part of the 20th Century Collection of the National Library. Immersed in "Ariadne's Thread," her research in the search for harmony is continuous.
Tell me about your childhood...
I knew I wanted to paint from a very young age when I lived in Elche. During the 1964-65 academic year, I studied at the School of Arts and Crafts in Alicante, preparing to enter the San Fernando Royal Academy of Fine Arts in Madrid, which I did that same year.
One of your teachers was Antonio López.
I came to painting through him; he taught me during my first year in Coloring and Composition. Years later, in 1984, I became his student again at the Contemporary Art Workshop (Taller de Arte Actual) held at the Círculo de Bellas Artes in Madrid. Although I had already held some exhibitions of realist painting, I found aspects of my technique that needed improvement and maturity, and I was better prepared to absorb his teachings. Antonio López taught me how to structure the direct brushstroke.
And Eusebio Sempere?
In 1969, and for a few months, he taught me at the San Fernando Royal Academy of Fine Arts. He introduced me to the existence of the Computing Center, where IBM programmers and artists worked on new fields of artistic expression. His influence has been present throughout all my artistic stages.
For the readers of EL SALT, recall the names of some of your classmates at the School of Fine Arts...Pedro Cano, José M.ª Cuasante, Florencio Galindo, Cayetano Portellano, Alfonso Galván, Teresa Muñiz, Lino Cabezas, José M.ª Mezquita, M.ª Luisa Sanz... these and others whom I value greatly as colleagues and renowned artists.
What has the sculpture of Ariadne meant in your artistic evolution?
I discovered the marble sculpture of "Sleeping Ariadne" at the Prado Museum in 1984. I encountered her again in...the exhibition of the restoration of Las Meninas, which was presented the painting in the same Circular Room as the sculpture of Ariadne. I knew then that I had to paint her. First, I painted her from the front and then from behind, with her own horizon... with another dimension, "Ariadne's Thread" (El Hilo de Ariadna). I understood that her harmony codifies a semantic, geometric, and mathematical cosmos, which is the origin of the 1991 start of "Continuous Spatial Path" (Trazado Espacial Continuo) in geometric abstraction, and "Combinables" in sculpture, which I presented in Alicante (1993) with an exhibition at the CAM galleries and an elaborate catalog.
What is a brushstroke to you?
The brushstroke is the affirmation of energy captured in a single stroke. As the lines are expressed in single-gesture brushstrokes, each one is unique in its meditative trajectory of lived moments, translated into rhythms that breathe in tonal gradations in dialogue with the void. Sometimes they evoke color symphonies, and at other times they affirm the gestural nature of the stroke in black and white, within a structural system of interrelationships.
Among other exhibitions, you held one in 2000 at the Hortensia Gallery, Kensington & Chelsea College (London). In 2002, "Ariadne's Thread 1991-2002" (Lonja del Pescado, Alicante). In 2006, at the College of Architects of Alicante, and in 2007, at the Museum of the University of Alicante (MUA), with the variable dimensions of the squares containing them, which transport us to horizons expanding toward infinity.
Mathematics, Geometry, Point, Line, Space—how many research projects do you have on these subjects and the evolution of your art?
More than twenty, the first being Combinables-Words-Geometric-Concept-Space-Five in 1991. These were followed by "Ariadne's Thread" in the light of a utopia, analyzing lines and spatial organization, a project I continue to this day.
When did you decide to combine the brush and the pixel?
Recalling Eusebio Sempere, following the work done since 1991 and after attending the 2002 symposium "Graphic Art and New Technologies," organized by the Calcografía Nacional in Madrid, I felt the need to intensely experiment with the possibilities offered by science and technology, always in parallel with my pictorial work. The trace of the brushstroke is transformed into pixels that constitute a new structure of the stroke, generating and enhancing new images in chromatic and geometric combinations. This research, in turn, motivates my expression as a painter.
Tell me about the large Contemporary Art Collection for the Hotel Hospes Amérigo that you created.
It is a collection of 84 digital art pieces on canvas. It was a challenge for me and an opportunity to materialize my research through new technological media.
What does it mean to you to appear in the book La Escultura Valenciana del siglo XX (Valencian Sculpture of the 20th Century) by Juan Ángel Blasco Carrascosa?
It is a recognition of my "Combinables" proposal, without a doubt. It states that my sculpture is a spatial system formed by flat and curved shapes, in cubic and cylindrical volumes within geometric harmonies.
A sculpture of yours is located in the Plaza de San Juan in Elche, your birthplace...
It is a true honor for me. This sculpture belongs to the "Combinables-Energy-Axis" series from 2001.
Following "Ariadne's Thread" throughout your pictorial and sculptural stages is a constant link of strokes articulated in squares; tell me, is Iluminada García-Torres still in a process that is "in progress"?
"Ariadne's Thread" is the common thread of my painting and my reflections, in the systematic application of the concept so that each work maintains its growing potential. All my paintings constitute the expression of a single work, which flows toward the current of universal language. THE SEARCH FOR HARMONY THROUGH EVERY BRUSHSTROKE Enero.2009 Revista EL SALT Nº17 INSTITUTO ALICANTINO DE CULTURA JUAN GIl-ALBERT Sección "La artista y su obra" interview by Elvira Rodríguez Fernández to visual artist Iluminada García-Torres
diagram-musicality.
iluminadagarciatorres.blogspot.com
pixel-pixels-design.blogspot.com 2003
ARIADNE'S THREAD - COMBINATORICS (1991-2003) By ILUMINADA GARCÍA-TORRES (Elche 1949) text and digital geometry
One hundred works to bring color to the Old Town’s first 5-star hotel Visual Artist ILUMINADA GARCIA-TORRES (Elche 1949) showcases several pieces from her "Combinatoria" series, which will decorate the first luxury hotel in the city center. S. Córcoles.- ILUMINADA GARCIA-TORRES has spent 25 years in the world of color within the boundaries of the realist style. She was a student of the master Antonio López at the San Fernando Royal Academy of Fine Arts in Madrid, and that experience left a mark on her work. However, today she expresses satisfaction in experimenting with new technologies, her mathematical and geometric cosmos, and her new paintings with a futuristic vision.
Iluminada García-Torres’ modern trajectory of striking colors has led her to a very specific demand. She has committed to providing one hundred works in this combinatorial style to decorate the first five-star hotel set to open in a few weeks in the city's Historic Center. This refers to the hotel currently nearing completion in the Amérigo building—a mid-19th-century structure with facades on Mayor and Altamira streets. This establishment is backed by the Hestia Hoteles business group. In doing so, the hotel group establishes itself as a promoter of an avant-garde collection, Digital Printing
In recent days, the visual artist ILUMINADA GARCIA-TORRES has exhibited some of these digital printing works at the Municipal Arts Center. Some of her paintings were also displayed at "La Lonja" in 2002, and one of her sculptures adorns the Plaza San Juan in Elche. For the author, her current color combinations are "windows for the imagination." digital geometry by Iluminada García-Torres. Text by Santiago Córcoles Dec 17, 2003 ALICANTE NEWS
art critic by Dámaso Santos Amestoy for the ABC Cultural supplement: Solo exhibition "THE THREAD OF ARIADNE 1991-2002" by ILUMINADA GARCIA-TORRES (Elche, 1949) at the LA LONJA Municipal Gallery in ALICANTE. Colective Exhibition "Des´de la otra riva" at the Museum of Contemporary Art of EIVISSA (MACE) in July 2002 and the MACE Museum in Elche-ELX in September 2002.
Nearly fifteen years ago, the dream of the brave and ingenious Ariadne fascinated a painter who was spinning the thread of a singular geometric proposal. Iluminada García-Torres had been practicing a painting of virtuous realistic technique, right on the edge of what was about to become the prolific neo-metaphysical movement current today. One day, at the Museo del Prado, she discovered the statue of the sleeping Ariadne, of which she painted several dreamlike and "metaphysical" versions. At that time, she was creating realistic paintings based on motifs as abstract as cylinders and prisms, which would later transition into her sculptural work. This retrospective offers brief testimony to both. It indicates—as Meyer Schapiro once taught—the continuity of abstract painting with the preceding figurative art, including that of one’s own authorship.
The "Ariadne’s Thread" that Iluminada declares in the title of this exhibition leads us to painting itself. It stitches together, if no longer the labyrinth, a reverberating imaginary space. Rows of squares with regular yet sensitive lines modulate the two-dimensional plane; the edges remain indifferent to the extension of those infinite brushstroke-threads, along which the painting is woven. These contrast the corporal and psychological trace of the ductus with the geometry of rational order. Through a dialogue of repetition and difference, of seriality and tonality, she conjures the fullness of modern painting so that the work—as Klee used to say—does not remain merely "a good carpet," but is capable of summoning the real presence of a third dimension without illusionist artifice. ILUMINADA GARCIA-TORRES (Elche, 1949) weaves the tapestry of dreams, the tapestry of Ariadne’s dreams. Dámaso Santos Amestoy ABC Cultural Madrid, 06/01/2002 No. 540
GASWORKS STUDIOS, LONDON UK. Residencies
ILUMINADA GARCIA TORRES (Spain) 1 December 1998 – 1 March 1999
This is the first time you will see the work of the visual artist ILUMINADA GARCIA-TORRES in the United Kingdom. During her residency at GASWORKS, she has produced new works with the referent of the marble sculpture ARIADNE at the MUSEO del PRADO, in MADRID, «I discovered that the harmony she invoked fitted perfectly a geometrical and mathematical pattern, which now guides me through my way of working.»
ILUMINADA GARCIA-TORRES seeks to achieve harmony through the expression of the moment, constituted by line-space-time, within proportional relationships between structures. The singularity of each line is a step towards ‘Light’. Every picture constitutes the expression of a single work that flows into the current of universal language. interview published by Alessio Antoniolli 1999 GASWORKS STUDIOS, LONDON UK
https://gasworks.org.uk/residencies/iluminada-garcia-torres/#.XhjFjuwO2LE.gmail
spatial-layout.blogspot.com LONDON 1998-2000
Catalogue and exhibition "RETROSPECTIVE 1982-2009 by ILUMINADA GARCIA-TORRES" at the Santa Bárbara Castle of Alicante. October 6th to November 29th, 2009 / INFORMACIÓN Newspaper, Alicante, October 11th, 2009.
ILLUMINATED BY ART
Text by Joaquín Santo Matas (2009)
ILUMINADA GARCIA TORRES (Elche, Spain, 1949). In 1967, in Madrid, she was a student of drawing professor Cristóbal Toral, while also becoming a disciple—in two stages, 1965 and 1984—of the hyperrealist painter Antonio López García. Although she knew how to assimilate the teachings of her masters, she has established a perfectly defined style with evolutionary stages that might seem drastic, yet are full of absolute coherence.
A long-time resident of Alicante, we can now contemplate the excellent exhibition "Retrospective of ILUMINADA GARCIA-TORRES, 1982-2009" at the Santa Bárbara Castle. This collection allows us to absorb the mature expressive strength that emanates from her work. Her landscapes and quince fruit show her beginnings as a realist painter; later, in 1984—a time of seduction—she discovered the Hellenistic sculpture of "Ariadne Sleeping" in Naxos at the Prado Museum. She would capture this figure in oil from various perspectives, claiming its harmony "codifies a cosmos, both geometric and mathematical."
The great innovative contribution of ILUMINADA GARCIA-TORRES arrived in 1991. While geometric abstraction had found its master in Eusebio Sempere, she—through her mathematical and geometric research titled COMBINABLES—links geometry and measurement with the direct impact of the brushstroke within the field of analytical art. This "assertion of energy in every stroke" breaks away from strict, precise lines.
She then began working in silk-screen printing, and the National Library now holds eighteen of her prints produced in 1996. This technique, so widely used in Pop Art and by kinetic artists, served as a bridge toward her interest in digital art. ILUMINADA GARCIA-TORRES is very clear that the investigation of geometric forms and color through computer applications does not diminish creative capacity; rather, it provides new possibilities and what she calls the "democratization of art."
This refers to the public’s access to a work through the author’s own reproduction using new technological means, without losing a shred of quality or the original colors. Although this concept might invite controversy, she believes a change in mentality is necessary—a new way of looking at contemporary Electronic Art. She argues that just as technical advances allowed a musical piece to be reproduced on a record or a literary text in a book without devaluing the authors, these means have made it possible for art to be known or acquired without having to attend a concert or read a manuscript.
The Hotel H. Amérigo in Alicante holds a collection of nearly one hundred works of Digital Geometric Art created by ILUMINADA GARCIA-TORRES, offering a chance to contemplate suggestive geometries printed on canvas with innovative combinatorics. In 2003, I had the immense honor of writing the text "PIXELS: THE TRACE OF THE STROKE" for the exhibition catalogue of this collection. Today, I reaffirm my sentiments of admiration: "a world of harmonies fused with Mediterranean light."
Text by Joaquín Santo Matas
Diario LA VERDAD, Alicante, 10-18-09
ILUMINADA GARCIA TORRES: Retrospective 1982-2009
Exhibition at Santa Bárbara Castle, ALICANTE
Text by VIVIANA RODRÍGUEZ GIMENO, May 2015 catalogue
"ILUMINADA GARCIA-TORRES: 50 YEARS OF PICTORIAL AND DIGITAL TRAJECTORY" in the Exhibition Catalogue "Geometry, Color and Musicality" by ILUMINADA GARCIA-TORRES. Municipal Exhibition MACE of Elche, May 15 – September 06, 2015.
ILUMINADA GARCIA-TORRES (1949 Elche) celebrates 50 years of her pictorial work and work with digital media. It was in 1986 when her encounters with the marble sculpture of SLEEPING ARIADNE at the PRADO NATIONAL MUSEUM, Madrid, gave a new meaning to her painting. Just as quantum physicists rely on string studies to find a theory of everything, the painter ILUMINADA GARCIA-TORRES discovered in the mythological THREAD of Ariadne the point for her development in Geometric Art, thus finding the element that has given full meaning to her work.
The concepts that give the exhibition its name—GEOMETRY, COLOR, and MUSICALITY—encompass the extensive work, intense dedication, and the innovative research and reflection carried out by the author, ILUMINADA GARCIA-TORRES.
Each line, each brushstroke, has its reason for being and makes every line unique, without losing the sense of harmony; a lucid composition and combination of color that is, in turn, incalculable; and Musicality, perhaps for the viewers the part capable of creating the apex that consummates her research task. A rhythm with vitality, EURYTHMY, which invites one to go beyond forms and colors, making it possible to glimpse the whole of that balanced geometric universe created by ILUMINADA GARCIA-TORRES in her paintings of CONTINUOUS SPATIAL TRACING and the digital diagrams printed on canvas ARIADNE’S THREAD - MUSICALITY, in which she shows her perception of various cities, continents, countries… SWEDEN-BEIJING-AFRICA-MADRID-GREECE-NEW YORK-MUMBAI BOMBAY-EUROPE-TOKYO-PARIS-BROOKLYN-NEPAL-BERLIN-LATIN AMERICA-UNIVERSE-… GEOMETRY, COLOR and MUSICALITY: eurythmy of renewal in Geometric Art.
Text by VIVIANA RODRÍGUEZ GIMENO, May 2015, Journalism and Communication UMH, UCM. Exhibition Catalogue "Geometry, Color and Musicality" by ILUMINADA GARCIA-TORRES. Municipal Exhibition Center of Elche, May 15 – September 06, 2015.
numerical-design.blogspot.com 2002 diagram-musicality.logspot.com
iluminadagarciatorres.blogspot.com
numerical-design.blogspot.com 2002
pixel-pixels-design.blogspot.com 2003
By repeating or contrasting these quadrangular units, a 'visual cadence' is created, transforming a static geometric structure into a 'dynamic composition' of successive geometric rhythms. Since the system consists of 'four communicating horizon sides' aligned with the sides of adjacent squares, they form a 'continuum' of etherea musicality by the geometric compositions".
ILUMINADA GARCÍA-TORRES (b.1949, Spain) visual artist, studied at the Royal Academy of Fine Arts of San Fernando and the UCM (1965-1970) in Madrid, where she was a student of the geometric painter Eusebio Sempere.
iluminadagarciatorres.blogspot.com
ILUMINADA GARCÍA-TORRES (Elche, 1949) describe en sus obras "COMBINABLES" y "Trazado Espacial Continuo" un enfoque sinestésico donde el lienzo funciona como una partitura musical. En esta partitura, "las líneas trazadas en cada "cuadrado matriz—unidad matemática" como módulo base, las variaciones en las dimensiones de las líneas en proporción a los módulos y los cambios de color expresados en 'pinceladas de un solo gesto' actúan como 'ritmos visuales' y 'ecos' sobre el lienzo.
iluminadagarciatorres.blogspot.com
ILUMINADA GARCÍA-TORRES (Elche, 1949) describe en sus obras "COMBINABLES" y "Trazado Espacial Continuo" un enfoque sinestésico donde el lienzo funciona como una partitura musical. En esta partitura, "las líneas trazadas en cada "cuadrado matriz—unidad matemática" como módulo base, las variaciones en las dimensiones de las líneas en proporción a los módulos y los cambios de color expresados en 'pinceladas de un solo gesto' actúan como 'ritmos visuales' y 'ecos' sobre el lienzo.
Al repetir o contrastar estas unidades cuadrangulares, se crea una 'cadencia visual' que transforma una cuadrícula geométrica estática en una 'composición dinámica' de ritmos geométricos sucesivos. Dado que en el sistema consisten 'cuatro horizontes comunicantes los lados' alineados con los lados de los cuadrados adyacentes, se establece un 'continuo' de musicalidad etérea de las composiciones geométricas".
ILUMINADA GARCÍA-TORRES (n.1949 Elche, España) artista visual, estudió en la Real Academia de Bellas Artes de San Fernando y en la UCM (1965–1970) en Madrid, donde fue alumna del pintor geométrico Eusebio Sempere
Al repetir o contrastar estas unidades cuadrangulares, se crea una 'cadencia visual' que transforma una cuadrícula geométrica estática en una 'composición dinámica' de ritmos geométricos sucesivos. Dado que en el sistema consisten 'cuatro horizontes comunicantes los lados' alineados con los lados de los cuadrados adyacentes, se establece un 'continuo' de musicalidad etérea de las composiciones geométricas".
ILUMINADA GARCÍA-TORRES (n.1949 Elche, España) artista visual, estudió en la Real Academia de Bellas Artes de San Fernando y en la UCM (1965–1970) en Madrid, donde fue alumna del pintor geométrico Eusebio Sempere
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