Panting the Image in Movement

Monday, 10 March 2014 13:17 Written by Mónica Dower

I work with a variety of media, above all painting and video.

I tend to produce long series in which I can study in depth subjects and issues that interest me.

In the series Painting the Image in Movement, I turn video and cinema sequences into paintings. From a vast universe of images, I select those that interest me and reproduce them in my own style, using watercolor on paper and acrylic on canvas.

I am more interested in the links with my artistic projects than simply the plot of the videos.

In these paintings I am a spectator, or an imaginary audience that serves to distinguish the dimensions that are always juxtaposed in my paintings, that of painted videos (a representation of another representation) and that of real models (a traditional representation of reality).

I recreate the images in movement with my own technique, avoiding a mimetic description of the images in movement. I am more concerned with the various sensations that they produce in me, and sometimes seek to briefly alter their stability by accentuating color changes, or through lines that interfere and partly distort or lengthen the images. My painting relativizes the “stability”, “border” and “definition” of the images.

Thus, given that the conversion from a technological to a pictorial image is already a distortion, I operate several degrees of distortion, depending on the dialogue I carry out with each image (each model).

This margin of “distortion” offers the possibility of creation.

I find the image-movement much more truthful than a single image, as our relationship with the world is always determined by movement. For instance, a fixed gaze can lie, whereas blinking eyes are more real. My images contain the immediate memory of what they were, from the instant before them within a logical event. A model experiencing the flow of time is more real than a model who only provides a single instant of their fictional representation.

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