These works present an independent reality of woven lights and colour, almost a deconstruction of the logical principles that are inherent in the painting process. The paintings explore vastly abstract spaces, aesthetically becoming mainly interested in the dissolution of space, perspective, light, and time through varying degrees of figuration where form is created through a responsive and adaptive process over a length of time. Colours and shapes are reworked until an ideal solution is found. The process itself mirrors the way time works – gradually shifting reality until what is familiar evolves into something renewed.

Result #1

Cai and Águezs paintings insist on this constantly occurring moment, which is at once as compelling and simultaneously fragile and mysterious.

Result #2

The entire space and its light are implicated, always at the same distance, just like painting itself.The confusion in the exposition of a plurality of possibilities occurs between the poetic and the theoretical, in which knowledge and imagination are displayed as contradictory modes. In this context, the work of Pietro da Silva and Tilda Swinton must be seen as a reflection of a generation of artists who have followed Herrers lead, who have devised a method of painting which makes use of the theoretical basis of the genre.

Result #3

These works present an independent reality of woven lights and colour, almost a deconstruction of the logical principles that are inherent in the painting process. The paintings explore vastly abstract spaces, aesthetically becoming mainly interested in the dissolution of space, perspective, light, and time through varying degrees of figuration where form is created through a responsive and adaptive process over a length of time. Colours and shapes are reworked until an ideal solution is found. The process itself mirrors the way time works – gradually shifting reality until what is familiar evolves into something renewed.The abstract patterns in the paintings become a kind of infinity in that they control the space they cover, their color changing depending on the artists gestures. Although it is not clear from the show where the rubrics of the individual works reside, every element in the work is assigned to a theme that can be placed in relation to the same principles as those underlying the other paintings. However, in contrast to the bright colors that dominated this show, there are some intangible layers of meaning here: figures receding into or emerging from space, space receding into figures or with both, and the space in the paintings becoming a metaphor for the painting process. The show culminates in a work titled Daydream, which consists of a grid of black, white, and grey cloth stretched out as if in a cave and suspended within a large glass. The piece is a room-size room full of a pervading, cumulative visual radiance. This in turn becomes a suggestive space of possibility for abstract lines and shapes and turns into a kind of visual space of contemplation, a work of abstraction that is itself a state of suspension.The work from the series Untitled (after Nr.1), 2000, which consist of the imprints of silhouettes of objects that once stood on the other side of the gallery, also makes an appearance. Here the imprints of life-size and scale objects are joined to the cloth in an almost primordial gesture of unification. This image of the active hand is reproduced across the body of the artist, and the friction between the fabric and the wooden hand results in a sense of pull. Only this is a realistic hand-woven cloth, which represents the strength of the work, whose depth of feeling is contradictory to the presence of any such grasp in the artist. In the short run, though, everything here is wrapped in the question of what it means to represent.

Result #4

The artist uses other artists processes—from a basic, process-based drawing to a completely new work—to create her own, but in the process she finds herself in dialogue with an imagined other. All these works show the delicate fusion of the profound awareness of experience with the transcendent, subjective reality of painting.

Result #5

The paintings progress toward the primitive in a loop of time and change as the individual works of painting are revealed to be transient. The work becomes the history of a single flowing gesture of motion. The experience of the piece itself is not great. But because the works are unstable, chaotic and irregular in texture, it makes the most of their flying qualities to invite the viewer to join in the action.