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M. R.

» He formed the earth and saliva a hole, the only one able to contain the light out » ( José Ángel Valente : The god of the place)

Painting as a breathing exercise is the proposal to Antonia Valero for his work go without getting lost . From the darkness of body painting, this artist follows the course of the matter that wants to extend , through the wounds of a seemingly airtight space only in a bloody paint jet slides weft fabric painting .

The structure , meticulously ordered , the first tables , inspired by the poems of St. John of the Cross , wrapped by metal and collected on grids themselves , limits and at the same time , filter the visible. Visibility of the painting through the geometric grid , passing across the entire order of linguistic discourse , so sign and thing ; behalf merges into a single image. Necessarily exercise that involves separation and exclusion of the metallic mesh covering . However, mysteriously , everything reappears excluded : as a ghost , as puzzling appearance . So the hidden painting voluntarily disclosed , almost imperceptibly into a guessing game just to trained eyes. Strict management of these works is justified because we know that hide and compress the bottom of an irrational always willing to show their presence chaos. For example , Dark Night claim another perception of the world , unstable and mysterious , which is transparent in the network of a rigorously constructed painting.

But the work of this painter does not stop on this journey of exploration into itself and painting . So in recent works inspired , this time in reading José Ángel Valente , presents a poetic artist of wounds ; Scars of painting. Even the material surrounding the plastic space morphs into a soft, soft mesh as one that adapts to the body , these later works make explicit something that was only earlier suggested : under the purest abstraction hides a metaphysics sensuality. Departing from the decorative stylization and the dangers of formalism , in recent works painting oozes through the grid, as necessarily impelled to leave, to show their scars.