The exhibition by Mexican artist Cecilia Vázquez is conceived as a series of reflections between painting and drawing, defining a grammar that travels from two-dimensionality to the object as composition. Between painting’s own resources and a thorough study on the geometric nature of drawing, scenes of representation and invention arise in her work, where the painterly exercise exalts the interaction with drawing towards physical space and the landscape as expanded painting; a body of work of large dimensions conformed by smaller individual elements. Between figuration as palpable presence and abstraction as imaginative hint, her painting directs us to Nature, its strength and frailty alluded between aspects replete with life simultaneously evincing its finitude and possibility of withering.
In the show, two photographs stand out that challenge and coexist, at the same time, with the artist’s painting practice, where the photographic process as visual laboratory communicates with the language of painting, imposing its documental rigor but proposing, in turn, new studies of the image as experiment, evocation and register, without the possibility of denying its essence as workmanship. In this way, her expanded painting also opens itself up to mysticism as ornament, between her mandalas and the double roses as vertical composition. A beauty drafted by an inevitable mortality and its fleeting permanence, that is the journey her work undertakes towards grief, and vice versa to life, because there is never one single way, nor one single turn, and Cecilia Vázquez knows it; that is why she takes it upon herself to point out possible roads as sceneries of a painting that enunciates its underlying meaning from the same dark place that also shines and presents itself as contemplative; always ready, lost and renascent, contradictory, but dazzling from whichever place it is looked at.