A typical pictorial theme, landscapes, has been interpreted in three different ways by two female artists, in “Instituto Cultural de Las Condes”, and by a male artist with trajectory, in “Sala Gasco”. This last painter mentioned, Pablo Chiuminatto, shows new perspectives of an argument to which he has maintained himself loyal to.
In this way, he puts in comparison his recent panoramic series from 2006 with his sepia photography from 1998. Yet, unlike all human attendance, the same protagonist results to be much more subjective through the delicacy of watercolor, gouache or oil in diverse degrees of monochrome painting. The fickle dynamism and the capital importance of brightness and darkness, allows discussions about suggestible paintings of light. And next to the emphasized luminosity, the strong synthesis that translates the visual and mental painter’s sensations, starting from the variations about countryside panoramas, Central-Chile’s archetypical, finish by placing a significant amount of them in abstract atmospheres.
The illustrations and canvases oscillate between the yet figurative –three vigorous “Otros Paisajes”– and the abstraction of twelve cardboards –“Atlántico”– poured through a well developed, and a rather colorful transit from night to broad daylight. Similarly to Chiuminatto, one of the exhibitionists of Las Condes chooses as a subject and artwork, the conventional Chilean landscape.
This refers to the young painter, Maria José Concha. The close physical vicinity with her exhibition colleague turns the comparison inevitable. In Concha’s case, black, gray, and raw ochre are her colors, used for the wild scenery of Southern Chile. Although she tends to withdraw from the recognizable, there is no lack of dense foliage with a tormented tree upon it –which resembles those of Isabel Saa– or mountainous masses accusers of realism. Its making, prodigal in drips and stains, offers a certain coarseness that underlines the dramatic character of these oil paintings on canvas. Nevertheless, the most interestingly personal of this author is the very graphic and little figurative “Patagonia gris y blanca”, from 2007.
Being completely different from the previous painter and Chiuminatto, in the same institute, Patricia Claro proposes indeed original visions of the landscape. Still, calm, lyrical, its intimate corners knowing how to synthesize the aquatic softness, the light upon it and from it, the peculiar vegetation adapted to the water, converting them in the most united natural ensemble.
Notwithstanding her particular landscape spirit, all of the above are enough to transmit with plentitude the deep sensation of finding ourselves wrapped by a global nature, valid for anywhere in the world. Yet in the same way, these faultless canvases with acrylic and oil, predominating green and blue, show different closeness to the model.
In this way, the four paintings in a smaller format, from 2005, lean towards an abstraction with an intense ornamental meaning. In one of them, at the same time, the defined texture takes away the softness and calmness, typical of this artist. On the contrary, the bigger these paintings get, the more they connect to realism. For example, in the majestic “Corte I, II and III”, from 2007, those who stood out by harmonious aquatic waves, in a certain measure, demonstrate their indisputable beauty with Simon Este’s notable hyperrealism.
After the calm and quiet that provoked the previously mentioned landscapes, passing by the “Instituto Las Condes”’ to the showrooms exhibiting the most recent World Press Photo, means for the spectator to submerge in the most chattering and anecdotal present time. Violence rules in it. And it is about the violence in relation to today’s wars; also through the amusement of sports, nature, and the attitude in the personal story. Nevertheless, other than the condition eminently journalistic and documentary of these photographs, there are some good shots. To mention the outstanding, in that manner, the North American, Spencer Platt; the Israeli, Oded Balitz; the Norwegian, Espen Rasmussen, the only participant who was capable of expressing hope.Pay close attention to the sensorial calm beauty that Patricia Claro obtains in her personal interpretation of the landscape.