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The surface speaks

Thursday, 13 March 2014 10:04 Written by Luis Argudin, San Miguel Xicalco, 3 de mayo de 2002

Luis Argudin, San Miguel Xicalco, May 3, 2002.

What happens between the eye-hand and the fabric that the other eye recognizes and responds to? Why does what we write, scribble on, cross out and delete reveal the marks of our being? Handwriting recognizes the traces of a personality in any mark; the hand cannot avoid revealing the mind that moves it. As in a crime scene where every object, every spot forms part of a constellation of positions governed by a meaning that is only accessible to the trained eye that seeks to deduce the presence of the author. A space that creates senses, whether it is the scene of a crime, a performance area or a facility is proposed as a riddle, a source of care for the intelligent viewer. But the matrix of these spaces taught us to project meaning onto painting, the window through which the world becomes aesthetic. And painting will continue its path while

painters maintain the eye-hand-cloth link, impregnating the surface of the painting with the displacement of their subjectivity.

Surfaces is a good word for exploring Claudia Gallegos’ painting. Surfaces that denote depths in time and space; strata prior to the painting process, layer upon layer reflecting the journey of the mind through the movement of the hand. Her touch makes itself felt over the entire surface. Scratches in charcoal appear to be drawn, rather than Tobey or Twombly Expressionism, from the EEG of a will seeking to externalize its internal rhythms. Here, words, concepts and images are no use. The point is to use signs to express the inner vibration of the engine of the soul. That is why Claudia Gallegos’ painting is a living skin, both opaque and transparent, surface and interiority, growing from the bottom up, from the inside out, from the subjective to the objective and from her mind to ours.

Because of its status as a seismograph, Claudia’s painting is essentially independent of both historical influences and external references. She turns in on herself and talks to us in an inner whisper. We need silence to see this work, to feel the pulse of its scratches and hear the vibration of her voice. Silence, let the surface speak!
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