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Critics

1998: Rosa María Ravera - "Tránsitos Americanos, Silvia Brewda" , Prólogo "Puerto a Puerto", Argentina

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. Brewda’s art breathes spirituality. For the artist the size of man is absolutely insignificant; however, the result of her work is not. The sedimentation of culture has always fascinated her and attracts those who, on approaching the pictures, see and listen the silence of what was, and is still there, in inscriptions that denounce the millenary evolution. It is the call of the objective Hegelian philosophy. In the same way that it contrasts with the fragility of what is, it is also its sustenance, considering that after all it is its product. Manifold centered and off-centered shapes, original lineal articulations, repetitions, edges, friezes, bands that are, also, bandages, that expose to the eye everything that is Monument, the footprint of mankind. We notice that the entirety of the images is recorded/written on a background that effectively contributes to the global meaning. The support of the painting confirms, in fact, the change of evolution by means of the mastery of technique and skillful creative manipulations. The persevering undertaking of the artisan as well as printing skills (a past dedication to the art of etching), ease the insertion of layers, sfumatos, patinas, the thickness of textures now transformed in archaeological domain. The bidimensional canvas has been used to search for Spaces: those where human contingency may exist. Animal and man. Maybe someday both shall be able to share the harmony of a space of commemoration and meeting. By means of a language that implies both archaism and modernity, with its Tower of Babel which is so old and so present. A means of expression that has been used to bind times and spaces, culture and cartography, from which living contributions to our present may be traced. An art which is not only American, an art that seeks eternity.