Cecilia Vázquez. Recent Work
In this last exhibition for the Museum of the City or Querétaro, Cecilia Vázquez assembled the certainly novel turns that her work has been taking in the las few years. The artist has shifted from the comfort of canonic formats associated to painting and of small pictorial assemblages, to take to the extreme with larger will for risk her installation strategies, not only from the works themselves but with the relation of these with the exhibition space.
Two discursive values in Vazquez’s work should be highlighted. The first is rooted in what we could call its museographic character, and it is the problematization of the place of the painterly, eluding –as we have said– the limitations associated with the conventional rhetoric of the picture. Her installation of flat shapes and small paintings unfold the whole grammar which is in its turn concentrated –in a dialogue not extent from tension– in her painting series Soft Geometry. In their turn, these paintings rigorously hung in a same wall come into tension with the formal glossary that invades, in apparent disorder, a specific area of the gallery.
Another aspect that defines her painting is introduced from another tension, which is precisely the one that relates to the whole grammar of her artistic rhetoric. Cecilia Vázquez is interested in establishing painting as an area of conflict where concepts as refinement and sweetening, associated to certain motifs generic to art, challenge the abjection of other referential elements. However, this complicated conjunction between the delicate and the impure originates from a formalization where the technical tools that Cecilia Vázquez masters with evident ease are stated with equal doses of precision and meticulousness.