Lattice : Lattice louvers you put in the windows for people who are on the inside can see without being seen .
(Spanish Language Dictionary of Joseph Alemany . )
The above definition Gives lattice Already Dictionary contains in itself Sufficient to try to penetrate some of the various, possible and suggestive meanings: ‘ inside’ , «window» , «see without being seen , of» which means and make Immediately opposite or complementary concepts : «outside «, «being seen without seeing» , all framed ( never to be more required ) paradigm from a window box turn around . We have a suggestion Malthus space limited by the frame ( ? The window , of the picture ? ) Which in turn defines two modes or types of space : indoor space ( physical , metaphysical , spiritual ? ? ) And outer space (also Mentioned in the three possibilities ) , and a planar ( or quasi ) That separates : the lattice . The lattice Malthus dealer to the boundary or barrier separating two ways of understanding not only the space , but above all , how to inhabit . Here is the key to working With These words attempt to approximate the potential viewer .
Tona has Chosen Could not what we call » home» , the manner of the painters of the seventeenth , and its derivatives , nor » outside» Understood as «scenery » in general but something much more subtle , «thin» , mysterious and inconsistent from the point of view of the physical : That the barrier separates the two modes of inhabiting space . In one of them is the silence , the stillness , the loneliness , stress Occurs That all this , the discovery of the inner self through the same staff and inside the universal , supreme , Mystic : God’s space
In the «other side» are the everyday world , its noises , actions , exuberant life movement ( or mean ) , the light , the color, the active, in short space of man .
But we can not forget That the two great Spanish mystics , que Valero have fed in the results Whose work have front , are two mystics who, in radical posture , «create or invent » a new experience That Contact with the God himself space . Teresa of Avila and John of the Cross » are discovered» shipped , Transported , raptured into That terrible, supreme and incommunicable spiritual act is the Encounter with the essential and other modes of spirituality ( not saying religions ) results in a almost complete resignation to the everyday world and active in abismarse in Themselves , in silence , stillness and inaction are as a foretaste of the ultimate complete dissolution . John of the Cross and Teresa of Avila , on the Contrary , are of the » encounter» overkill , a strange energy That pushes «out» , to action , to the world : cross the LATTICE separating the two spaces , and ultimately from the communicating discover God , even Among the pots . Spanish mysticism is a mysticism materializing , vital , que is very close to eroticism , and to some Extent , mocking derision , and the hand of God , anticipates in four centuries now trying to theories that link the two experiences : the mystique and erotic .
Antonia has Chosen well . Not been in. the inside alone , nor has jumped to the outside alone , I ‘ve been in. the line , into the hinge That connects the two worlds , the subtle almost transparent wall That is the Gauntlet . I ‘ve Settled , very far Teresa of Avila , everyday world materials , wood , paper , screens , little paint, just nothing The result is intimate, not spectacular , stripped of all rhetoric , close to a «vow of poverty» Done with the painting , and is scoring rigor That neatness, That infatuation has handled These materials , with the same brevity and tenderness with John of the Cross Which handles his words , with the same ardor content , making the number and Extent equation with a subtle matter of every day . And if Antonia Valero is on the dividing line where to places the viewer ? Just on Both Sides of That line , we can get to These works » behind» them or in front , que is not, frankly , more than point , once again , que ‘ve always done painting and art in general. The author is always on and behind his » watching without being seen , » the viewer is in front , watching the play without knowing That the work , and through it the author , you are looking from behind . But if you can open the lattice , if it penetrates through your tissue , more or less dithering , come inside . Communication in the art , When It Occurs , is another kind of approach to it all. And here we have a good chance to do so , an almost plastic asceticism is a starting point for other meetings.
point, once again, which has always done painting and art in general . The author is always on and behind his «watching without being seen,» the viewer is in front, watching the play without knowing that the work, and through it the author, you are looking from behind. But if you can open the lattice, if it penetrates through your tissue, more or less dithering, come inside. Communication in the art, when it occurs, is another kind of approach to it all. And here we have a good chance to do so, an almost plastic asceticism is a starting point for other meetings.