by Marian López, MOTP Gallery, Mar del Plata 2001

The cube as an original order is a common element in the works of both Margarita Garcia Faure and Valeria Gopar. So is the limitation of the semantic structures they use for the cerebral monochrome palette and the use of the line as an essential trace to outline a world.

Beyond these resources, what brings their works together is the explicit intention of unmasking the illusionist function of the “painting”.

Margarita Garcia Faure takes small modular structures as a starting point, which she covers with a mesh of tremulous white lines. Her paintings resemble illegible landscapes portrayed at high speed. The fact that the figure and background look like an undifferentiated medley displaces the gaze from within the frame, transforming the work into one more object within the gallery's architectural space. Whereas Garcia Faure dresses the painting until it is reduced to the nakedness of its support condition, the figures of Valeria Gopar are absolutely symbiotic with the gallery space, since they are drawn directly on the white walls.

Gopar minimizes the special coordinates of the represented object down to the meagre fundamental structure, which she distorts by showing it as an ornamental disguise itself.

The artist's iconographies resemble ¨Egyptian boxes¨ in relation to the process of idealization that operates in their construction, where the refusal of planes and the excessive consideration of parallel lines seem to be in order to grant the object maximum intelligibility.

The denial of any perspective correction and the ambiguity of its illusionism leads us to think that the box is doubly empty, it is about the wrapping of another wrapping, that of the coordinates through which the image is constructed.

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