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Critics

1999: Jorge M. Taverna Irigoyen - Prólogo "Itinerario", Argentina.

Silvia Brewda. Her pictures seem to speak for themselves. Even when the shape of the picture is regular, they suggest an extended dimension, mostly monochromatic, always inhabited by very small human figures, as well as mythical animals of oriental sacredness. The images are the result of narratives related to past cultures, Mayan hieroglyphics, Phoenician barges, Egyptian figures, vases, friezes and ornaments. Amidst these venerable images the artist has emphasized a correlation and a resemblance which is essential. The cardinal points, set together, subsist under the common association of an all-embracing Space, tinted with existential resonance. Always an essential characteristic of painting, spatiality is here, therefore, over defined. That is, duplicated. After looking and observing for some time one reaches another conclusion: it is a question of Space/Time. (Are they not the significant conditions of human experience?). The pictorial space is often organized in horizontal streaks that coincide with the reading lines to which our culture has accustomed us. Sometimes the orientation of the figures goes from left to right, on other occasions it is not so, there is inversion, reversibility, unforeseen unconstraint that expands dissemination. There is something fundamental that we have not yet mentioned: this painting is Writing, again in a double sense. Considering that it is a representation it already yields a sign, yet the product beholds, in its own nucleus iconic and linguistic value. It is the result of many years of work, the artist’s mind has produced an imagery that functions like a transcendental scheme: the source of everything that evolves as sensory perceptiveness or discourse. In fact, in the pictures we see emblematic realistic linguistic units. In the very roots of the representation we verify a basic heterogeneity. It is not surprising. From the very beginning this art contaminates, blends symbols, races, cultures, memories, languages. It is certain that Brewda does not comply with the model that modernity has bequest us, of pure visibility, where discourse is foreign, a concept that climaxes in reflexive and tautological models. Her endeavors have followed another path, which can be appreciated in the outcomes obtained, a vision of man and the world. The former is suspended, oscillating like a feather, nearly always in a free fall, on occasions dragged down by a whirlwind of spiral movements. It is so in “Tempest”, where the atmospheric violence seems calmed by the vertical regularity of the plumb line and the ceremonial procession of the animals. Brewda’s interpretation proposes a humanity of infinite magnitude, floating with no direction in the cosmic space. A universe far from being abstract. It is placed, it holds explicit contextual marks and remits us to configurations of the past that may mean the shelter, support and perdurability that are denied to the human condition. The architectural structures prevail. The inspiration is affective and historical (a tradition in her family). The precise outline presides the composition, imposing, with central constructions, columns of great dimensions beside the architraves and pilasters, all of them fragments belonging to those diffuse and fluctuating constellations that are global as well as different- denominated culture, whose symbolic value is glorified. When the creative attitude becomes shapes, art deepens its expressive meaning and its images. This is what happens with Silvia Brewda’s work, encouraged by an interior disposition that always –stripped of accidental allegories- goes after a testimonial essence. Thus, silence / pain / enigma / time / vacuum / eternity, record their transference codes to the plane or in the carnality of an object, of a box or other bodies in the space. Brewda, in an imagery almost keen of meanings, constructs a discourse that begins in the Origin. She is primitive in the emphasis she gives to matter, but there also exists an archaistic perception in a certain timeless pulse that penetrates the majority of her chromatic proposals: documents of a history that men coined in the days of yore. Her painting starts with the use of elements manipulated like minerals, among patterns and frotages, among collagist impressions and monotypes, that summon touch. The background of her planes, so grave and at the same time so sensual, may contain unbelievable microcosms of humans and animals, of heavenly bodies and signs, of mythical shapes and lettering. Within them, mazes and cosmic heights grow, all so very naturally as if that transcribed universe was – no more and no less – than the result of Creation. Brewda’s work then develops into secret, almost magical openings. It is not something she intends beforehand, but simply because those references that appear almost swimming in the chromatic space, are progenies of other shapes. Footprints that remained in order that the eye might discover them, to recreate them and give them a new life. Silent imprints of a past that the new man craves. Archaeology and zoos of a fascinating dimension. All this sunstractum, which sometimes reaches the proportions of cave paintings (which it surpasses) grants to Silvia Brewda’s painting a sensitive and sensorial syncopation that escapes the pigeon-holing of orthodoxy. It does not matter that she works the backgrounds almost hierarchically, and that over them she writes events and shapes mazes. Neither does it mind that, on occasions, her plane becomes a sort of magical, ritual magical scenography, like an assembling of allegories. What is important, yes, is that besides a playful evasion, her work always patents a vivid testimony. And between ochre and earthy colors, between a gamut of blues and reds, of emerald greens and subdued whites, her pigments construct the architecture of an undecipherable memory, however familiar recollection. A remembrance of time and atavisms that Brewda transcribes with the flawless ability of a magician.