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Iluminada García-Torres
“EL HILO DE ARIADNA”
1991-200230 abril - 28 mayo, 2002
Sala Municipal de Exposiciones
-Lonja del Pescado-
ALICANTE
“EL HILO DE ARIADNA”
1991-2002
1991-2002
30 abril - 28 mayo, 2002
Sala Municipal de Exposiciones
-Lonja del Pescado-
ALICANTE
Sala Municipal de Exposiciones
-Lonja del Pescado-
ALICANTE
numerical-design.blogspot.com 2002
2002 exhibition catalogue geometry ARIADNE'S THREAD 1991-2002 by ILUMINADA GARCÍA TORRES at the Municipal Exhibition Hall, Fish Market, Alicante May 2002
GEOMETRIC POETRY AND EMOTIONAL CALCULATION
JOSÉ MANUEL ÁLVAREZ ENJUTO
It is not easy to respond pictorially to the intimate 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 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.
2002 exhibition catalogue geometry ARIADNE'S THREAD 1991-2002 by ILUMINADA GARCÍA TORRES at the Municipal Exhibition Hall, Fish Market, Alicante May 2002
María ILUMINADA García Torres
(1949Elx) +34696302487geometry
iluminadagarciatorres@gmail.com
(1949Elx) +34696302487geometry
iluminadagarciatorres@gmail.com
