The execution game
A parallel, fantasy world exists all the time alongside me. I feel that there is humor in the exuberance of the resource, in the lines that without hierarchy are organized in a central totemic figure, from different stacked forms, which play and at times are crushed. Others, on the other hand, only come together to form figures that are admitted independent, although they dialogue with each other. A soft geometry is then generated, with an apparent equilibrium composition.
Fantasy offers images of possible enigmatic faces without features, but smiling. Then, the appearance of the forms makes them go from simulation to reality, almost transforming into characters.
Color is a fundamental part of this series, giving life to the shapes: it animates them. I immerse myself in the possibilities of each color letting them make their way, beyond my will.
The curved line appears again and again in circular and rounded shapes, which I seek to relate to the feminine and also to surrealism, in terms of a world without apparent logic and the free flow of thought.
Some of the works differ but all are twinned beyond their individualities.
It will be letting yourself be carried away by art and that each image transmits the emotions that belong to it.
Veronica Gravina
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It is not a rigorous method but a personal treatment
It is difficult to find artists who so ostensibly pose the continuity and the formal and conceptual link between their works.
Verónica Gravina is one of those cases.
Each piece could be articulated with the next one, forming an almost perfect framework, which links each other, which allows the artist to establish groupings in diptychs, triptychs or multiples, without relegating the individual character of each painting.
Traversed by a free reference to the geometric tradition, the works propose an abstract world of sensitive structuring.
There is no mathematical calculations behind, but a rational forecast. There is no rigorous method, but personal treatment.
In paintings on canvas, the display of size is greater than in the case of paper - the two usual supports in his works.
It is also on paper where the color treatment is allowed to expose transparencies and neutral backgrounds. On the other hand, on canvas the brushstrokes are denser and the coloring becomes covering. In them, the totemic images and the forms collected one on top of the other, give way to a more organic and fluid composition that appears to be a coexistence of the forms on the same plane.
The repertoire of forms in Gravina's work makes up her own inventory, which allows her to display a complex combination that at times becomes close to an archaic and symbolic writing, but which ignores any type of translation and interpretation, beyond what everyone can perform.
Maria Lightowler - November 2021