River painting is part of the book INMENSO
Seeing ≠ not seeing (the river, the entire painting, all colors)
One covered wall ≠ three bare walls
Enormous painting ≠ tiny dots
A painting ten meters long by two meters high.
Covering an entire wall whose back faces the Paraná River.
A disproportionate work in relation to the measurements of the space: covering a ten-meter wall with a ten-meter painting to then look at it from between the columns of the space, columns that cover and uncover different parts of the painting. Backing up to see the whole painting, not being able to see it without moving your head, so turning it this way and that, looking from one dot to another, from one color to another.
A painting to sink and dive into water painted through a macro lens.
The river water flows and the painting is in a museum facing the river, looking at it with eyes shut, looking through the wall that blocks the view of the river.
The exhibition room is in a tower; the painting places us under water, going up and going down; we go up to see the show and, when we walk into the exhibition room, we are submerged in the river.
To dot and cover, to cover and dot, dots that cover and cover the river water. Flooding the wall with dots, drawing and staining, spilling dots on a surface of oil paint the color of the Paraná River. Playing with the visibility and invisibility of the dotted colors on the canvas. The visibility and invisibility of the view of the river.
Paying tribute to Monet’s water lilies.
Looking at the Paraná River and just painting it.
Margarita Garcia Faure, September, 2008
Catalogue for the Rio Pintura exhibition at the Museo de Arte Contemporáneo de Rosario, MACRO, 2008
see more text