Javier Hontoria
Utopia Parkway Art Gallery in Madrid
El Cultural. El Mundo, 27 November 2003

 

This time Concha Gómez-Acebo’s creations seem to have stopped at two genres: landscapes and portraits, in contrast to her last exhibition when the artist flew loosely through diverse themes and territories lured by literary dreams and continuous references to the journey. Then she presented still-lifes, landscapes, portraits and hints refereeing to her own painting in which she joined realism and an oneiric language that now it looks as though it has disappeared for the sake of a new and even sharper perception of reality, that is determined by her status and evolution over time through a “pictorial calendar” she has created twelve paintings that refer to the months in the year. You can observe different moods and places (Guadalajara, Madrid, New York). In Madrid and New York there is an essential and bright painting in which human figure is absent. It has a neater, calmer quality. There is a scent in the city of “frozen time” not present in the works about the country, in Guadalajara, where the ochre and golden tones reveal a greater emotional intensity, at times almost a dramatic drive, as in Febrero. Nevertheless I think that it is in the portraits gallery where the painter exceeds the pictorial borders in order to break into a psychological attitude, getting through physical perception so as to dig deeper into internal features. I have no doubt that these portraits show us the most suggestive Gómez-Acebo, in a detailed analysis of her most intimate environment in a successful sequence of small paintings along the wall. Gómez-Acebo has released each one of her 31 portraits of any drama focusing mainly on the essence of the portrayed in a sincere and conscientious search for the truth.