Verónica Vázquez from Details to Universal

Recovered fragments are transformed into art by Vázquez, who manages to exhibit the intrinsic poetry of unimportant and neglected things.


The Piero Atchugarry Gallery is pleased to present the third solo show of Verónica Vázquez in Pueblo Garzón. You are cordially invited for the opening reception on Friday May 5th at 6 pm.

An iron wire follows its own path, inventing an unusual route as it goes. Freed at last from any appropriate use, it gives itself over to the artist to be transformed into a “thought guide”, a hook for desire to be liberated and suspended in the air. It also aims to reach the concreteness of nothing, to use an oxymoron, or the elusiveness of a breath. As it probes the absence, paths of emptiness and volume appear, of presence and silence, replacing the calligraphy on the blank page of time that is consumed and consumes us. The rhythm of a particular curl or phrasing attracts the gaze and forces it to acknowledge a symphonic lightness that results in a break, enhancing the deeper meaning of a harmony. Meanwhile the iron wire has embroidered the meaning of that story, which is no longer just about the wire but now belongs fully to the artist interpreting it and to us as we receive it like an unexpected gift of grace.


Verónica Vázquez’s creativity begins as an articulated and tortuous transformation of this line. It behaves like a story waiting to fully address the gaze and the impalpability of an invention that seems to grow out of itself, from a slow transformation guided by the gesture that is translated into thought, amazement and shared emotions. This rhythmic writing, which surrounds and questions the air creating a harmonious tangle of lines, prepares the next task for the rusty substance committed to marking out lattices like notes to be placed on a highly personal stave.

Pages are born with a rhythm shaped by form and its absence, where a nail corroded by neglect determines the alternation with a break, or where a permanently corroding sheet metal cut-out calls other cut-outs or fragments of consumer waste to a conversation among the lattices of the geometry of enchantment. Thus a wall is scanned and invented to play host to ideas, evoking a mirror in which remnants of oneself can be kept like a precious reliquary to be held up against the danger of loss. With Verónica uncertainty is transformed into an absolute declaration; the plot of the story appears on the threshold of loss and defeats it. Its gesture seems to want to mimic the existence nourished by impermanence and certainty, by conviction and traces to be guessed at along unknown paths.

Mystery then becomes magical, seemingly surrendering itself or resting in the apparent concreteness of the signs. The most valuable part of the things and the gestures they have formulated is recovered in this way: the truth is born of consumption. Only the artist is able to fully read the precious book of the ephemeral, like a young child bringing the world to life by making marks on a piece of paper that can no longer be understood by an adult or investigating a negligible fragment. And it smiles. Plays. Musters its dreams. Entrusting itself to the uncertainty of its first steps.


In its circular path Esculura en alambre III can be considered a conceptual hook in the sense that it is barely sketched out. Here the iron wire invents the ephemeral lightness of the world and ideally captures its essence, its breath. Or a similarly gentle movement attempts a gamble with the depths of the tormented design of a curtain opened onto nothing, committing it to the impalpability of becoming: this is what we see in Escultura en alambre IV. Created in 2016, they rally other ideas and gestures arising from parallel impulses as if they were shoots waiting to be discovered and planted in the soil of a fertile creativity.

The iron wire sometimes calls for a paper support to obtain a reference to writing or to capture a shadow before transmitting it to the variations of light: emotion feeds the story that seems to search for its origins on the reverse of the paper, as suggested by Dibujo en alambre II and dibujo en alabre III. Whenever a thread of wool or cotton is used to indicate the meaning and rhythm of the representation, the variety of solutions is enriched by a delicate chromatic element: such is the case with the suspended or hanging knots of Hilo rojo sobre cartón, just as it affects the tensions of renewable and modular staves in Hilo y cartón. Otherwise the metallic structure becomes a grid, drawing a group of wires and nails onto the white background, creating an interweaving to be distilled over motionless time, to be extracted from people unconscious or from the memory of the things themselves. In this way harmony is associated with mystery. Alternatively the paper descends and appears behind the interweaving like an accompanying wake, a caress or a light breeze that distils and tempers the dreams of a narrative intention. In Escaleritas I , the compositional rhythm dictates the timing of the overall perception and observation of the lines of loss that scan a design made up of neighbouring parallel geometries, tightly segmented and scattered by suspended points.

The transformation of recovered fragments in art has found a refined interpreter in Verónica, who manages to exhibit the intrinsic poetry of unimportant and neglected things: Trama y verde is a significant example; in this case the ephemeral dictates an unexpected order in which the white emptiness in the centre bears witness to a lack of interweaving, while its regret is tempered by a short green stripe. However, in Textil I it is the repeated intersection of discontinuous elements that invent a kind of warp, an embroidery to be renewed every time the material passes horizontally and intersects, weaves and turns its presence into an omen, a witness to the story of determined accumulations and duly distilled interventions.

In the case of Textil II, an equivalent behavior comes from the picture’s scheme, conquering the three-dimensional space during an apparently precarious compilation. In Siluetas y fleje IV the forced introduction of metal cut-outs inside a frame brings about the springing release of components that recover comparisons of lines and designs where gesture is guided by overlapping shapes. The same container can instead act as a cast-iron box capable of erupting into the dynamic movement of the rusty strips that cleave the air and carve renewed and renewable impulses in to it. This is also true of Escultura de siluetas. And what about paper? It often assumes a leading role: in Escutula en papel y flejes it becomes the essential body of compiled and forgotten modules compressed into an iron ring; in Escultura en hierro y papel I it simulates the ghost of a flower or an ornament in the transverse centre of a frame; in Proyectos II it is reflected in the scrolls lined up in the preservation of something unattainable, a hidden truth.

It is even found regularly in the small recovered models hung next to each other to mimic clothing patterns or, with less poetic impact, to recall the display, in this case aseptic, of quarters of slaughtered meat. On such occasions conceptual motivation tends to take advantage of the enjoyment or appeal of the representation. So much so that the two books without stories (or depositories of an endless unwritten story or one that is hidden inside the blank cover) that characterise Papel y nada, or the empty gazes of the containers arranged like a mosaic in Papel sobre cartón, throw curiosity and anguish wide open, well beyond the visible. They challenge us with their presence that lies outside representation.

In this way Verónica Vázquez experiences every awareness and behaviour known by the artists who have travelled before her down the same path (starting with some of her compatriots), opening up and spreading pervasive or caustic questions to the world under our care.


Luciano Caprile


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