Cintia García

Statement

My drawings arise from the confrontation between what I want and what I get; a leap into uncertainty between the desire to do and the impotence of doing it. The body.oscillating.is in the middle. Each line is the trace of a movement. The work is constructed by accumulation, color on color and line upon line. The strokes are like a bridge between two shores, a web that links fragments. Intensity is an essential component of my work and forms part of a vital dynamic. The experiential operates as a time shift: a difference that is installed on the continuum of reality; a gap that lets you see what is hidden from the view. The pencil tip releases material into the interstices of the paper, covering the paper grain; and if it does not, another stroke will cover this supporting skin. The sound made by the pencil as it touches the surface of the paper becomes a mantra, which with repetition restores my balance. The line is always the same; it repeats itself again and again; the body moves; the arm moves up and down, the hand holds a pencil; and the pencil color is the difference. In the face of a support vacuum, I build a scaffolding of lines and color, which create their own time and space and where each viewer finds his/her metaphor. I do not name my works, they are outside of me. Naming reduces the meaning and for this reason the titles are merely descriptive. The title of the series "10 Billion Lines" is still a generic phrase, an impossible number regarding the number of movements I need to create an image. The drawings do not tell a story; they do not have a narrative. There is a succession of lines that coexist based on proximity. The meaning emerges in the act of seeing, in the viewer's gaze, before that there is no discourse.

Estudios realizados

Exposiciones colectivas