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Identidad Serrana - Pequeño formato
Las sierras que forman el valle de Calamuchita en la provincia de Córdoba, incluyendo aún, la Sierra Chica que llega hasta la Pedanía de Achiras, son demasiado bellas para captarlas en su plenitud con nuestros pinceles.
Yo amo “hacer una interpretación” de esos accidentes serranos, entrecerrando los ojos y dejando que la sierra cuente espacios y formas diferentes a los que ve el ojo común; bajando al plano una recreación cuasi abstracta de las formas que sugiere esa mirada. Vivo mucho más intensamente estas abstracciones, que el paisaje fácil y cómodo que provee la sierra por naturaleza. Yo prefiero llevar esa naturaleza a tensiones diferentes, mediante empastes generosos y rupturas cromáticas al extremo. Esas abstracciones pueden tener diversas intensidades. Algunas se rinden solo a planos de colores y otras dibujan siluetas más realistas y reconocibles. Pero el contexto general de la obra terminada, devuelve al espectador la plena intención artística del autor: “Esa recreación de un paisaje intensamente activo y al mismo tiempo inmensamente bello a la mirada”.
Las texturas son provocadas de manera intencional por el autor, en bases a preparados artesanales con enduídos plásticos, bases acrílicas, acrílicos, colas vinílicas, gesso, tizas, pigmentos artificiales y orgánicos, colorantes, ferrites industriales y otros. Los pinceles también son preparados artesanalmente usando y acomodando brochas y pinceles desgastados de la pintura de obras y viviendas. Por último esos gruesos empastes se trabajan con lijas de diferente grano, aplanándolos y dejándolos apto para recibir la coloración provocada por tizas pastel fuertemente fijadas con sustancias también preparadas de manera personal.
Ingles
Serrana Identity - Small format
The mountains that make up the Calamuchita valley in the province of Córdoba, including still the Sierra Chica that reaches the district of Achiras, are too beautiful to be captured in their fullness with our brushes.
I love to "make an interpretation" of those mountain accidents, squinting and letting the mountains count spaces and shapes different from those seen by the common eye; lowering to the plane a quasi abstract recreation of the forms that this gaze suggests. I live these abstractions much more intensely than the easy and comfortable landscape that the mountains provide by nature. I prefer to take that nature to different tensions, through generous fillings and chromatic breaks to the extreme. These abstractions can have different intensities. Some surrender only to colored planes and others draw more realistic and recognizable silhouettes. But the general context of the finished work returns to the viewer the full artistic intention of the author: "That recreation of an intensely active landscape and at the same time immensely beautiful to look at".
The textures are intentionally caused by the author, based on artisanal preparations with plastic coatings, acrylic bases, acrylics, vinyl glues, gesso, chalks, artificial and organic pigments, colorants, industrial ferrites and others. The brushes are also prepared by hand using and accommodating worn brushes and brushes from the painting of works and houses. Finally, these thick fillings are worked with sandpaper of different grain, flattening them and making them suitable to receive the coloring caused by pastel chalks strongly fixed with substances also prepared in a personal way.
"Twenty years is nothing" (*) Year 2018
Whoever reads these lines probably does not know that Abel Fernández is from Mendoza. And in truth that condition of origin would not have any importance for the purposes of this exhibition if it were not because that "being from Mendoza" places his work in a recognizable territory, and outlines his belonging to a school that has given other artists such as Carlos Alonso or Luis Scafati, to name two of the greats.
Abel Fernandez's striking, subtle, blurred, suggestive drawing line is the daughter of that school, and is the first element of his work that provokes deep admiration. About 25 years ago, when he made his first exhibition in Río Cuarto, the subtlety ofthat loose line showed a forceful capacity to load the figures with drama.
That impressive essential faculty, to which he adds the naturalness with which he works various materials and supports, then subordinated color as a surviving element, although used with careful adaptation to its expressive purpose. But the Abel Fernandez of this exhibition, makes him advance to the foreground, and without becoming a colourist, he adds to his baggage a palette that, although not very wide, is indeed overwhelmingly expressive.
By calling this exhibition "20 Years is nothing", an obvious allusion to "Volver", the famous tango by Gardel and Le Pera, the artist makes more than a numerical reference to his prolonged absence from the exhibition halls: since his series ("Tango y Músicos", "Los Cóndores", "Las Frutas" - dead natures, "Bailarinas y nudes" and "Que se commission el otro" (originated in the wonderful "Los Niños Primero" time), they revisit images of the past, the title is almost an ironic resource. Because, 20 years later, Abel Fernandez not only continues to be the remarkable artist he was then, but these "remodeling", these "retouching", these "revisions" allow us to experience the splendid empowerment of your creative condition. So this exhibition that you admire, instead of staging that return with withered forehead to which tango alludes, shows it fully, and with a shocking enrichment of his faculties of always.
Text of the presentation of the journalist and critic Ricardo Sánchez
(*) "Twenty years is nothing" is the name of Abel Fernandez's exhibition, inaugurated on November 9, 2018 at Casa de la Cultura Córdoba, in the City of Río Cuarto, Córdoba, Argentina
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