Juan Pablo Wert Ortega
31 mujeres exhibition

Liceo Art Gallery, Guadalajara, 2004


The exhibition that opens this brand-new gallery shows the most recent work produced by Concha Gómez-Acebo, an artist with a long experience within artistic circles in Madrid. Her work has been repeatedly analyzed by well known art critics on occasion of her previous individual exhibitions to which I will refer to.

In the present one she brings forward two, apparently disconnected series of portraits and landscapes: two genres and two different stylistic treatments in one poetic adventure. But, neither the thirty-one women portraits, nor the landscapes are merely what pretend to be.

If the portraits compose an only piece it is not because of the format but for the artist’s evident will of providing a valuable clue in order to go beyond the neutral condition of simple series. The piece is not a catalogue showing her friends, like a graduation photograph does, or a telephone directory; it is a landscape of her own familiar faces, her own real landscape. She handles each portrait in a landscape manner, in the way of composing them, that keeps the amputations and misframes of the photographs that served as basis of the work, as in the fluent brushstrokes or in the subtle greenish chromatic and atmospherically intonation.

Landscapes noticeably differ from the portraits in these values with a rich, swept paint that take out of focus some elements creating a persistent, fleeting sensation. Her practice with Zen watery painting, in which genre she has produced really worthy pieces, has been inspiring her particular, thrift way of painting, that serves to a conception of landscape that reminds us to the romantic: the landscape as a mirror, as an emotional state, at last as a portrait. After this exchange of roles between genres Concha Gómez-Acebo’s work opens its way as a bare statement of the upstanding ability that paint has in order to relate that cannot be said in any other way.