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The sculpture "Sleeping Ariadne" (2nd century AD) is a classical Roman marble sculpture exhibited at the Prado Museum in Madrid.
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A SQUARE
Text by SEGUNDO GARCIA, May 1993
DIRECTOR OF THE MUSEO DE LA ASEGURADA OF ALICANTE
Catalogue Exhibition COMBINABLES by ILUMINADA GARCIA-TORRES
In the end, in the last instance, all of their work culminates in an essential square. This foundational matrix square, is a site of tension—a space where formal relationships are mediated and compositional events unfold, a rigorous structural environment, a cosmos of mathematical and geometric interdependencies.
...But people will continue to speak of THE ARIADNAS of this unusual/ILUMINADA [Enlightened one] who today presents her reflections to us, or you will have the luck of seeing some in this exhibition. And you will immediately hear the word realism: even she, ILUMINADA GARCIA-TORRES (b. 1949 Elche, Spain) will pronounce it...
Pay no mind. For it is precisely from here that she left this path. And precisely they—the Ariadnas, the paintings—cannot be considered a conceptual exercise of realism, if realism is the radical consideration of the reality of things themselves. For the statue that so much wanted to speak to her was not treated as an object / sculpture / reality but as an effigy. For what she did is something else.
Because surely, this incessant [woman] / Elche native, rethought art, and perhaps life itself, and decided to enter deeply into principles and reasons, when around 1986 she confronted as an artist the mystery of that "Sleeping Ariadne" of the Prado Museum, a sculpture that must have shocked her.
And she found or it must have become evident to her beauty—which we already know does not exist if one does not believe in it and is not found without invoking it—; and with that series of paintings she pursued it with insistence, taking from the sculpture everything it was capable of telling her, squeezing it to the core.
That is to say, it was a pretext: what a realist painter would never do. And the result—a classical sculpture that is a mandatory museum work, free or abandoned in a luminous atmosphere—constitutes a disturbing super-reality in the recontextualizing sense of the surrealists, an emotional proclamation of the freshness of old Mediterranean beauty, and for me, even an impeccable evocation of remote cultural principles that concern us all.
And a tribute to rigor. Because that experience was also a revelation of order, a presentiment of the magical heartbeat of beauty.
Surely, because as I say, those were her last steps in the proximities of realism to enter immediately into a stage of balances and essentialities.
A stage now very distant from that one in concept; ascetic, radical, and unambiguous, of geometric objects absolutely stripped down, depersonalized, and foreign to any matter other than their own form. Artificial still lifes specially arranged so that things draw the space and firmly decide the lines that construct it and the tensions that balance it. An unreal and inhuman atmosphere, yet a decisive sensation of unappealable truth.
And here you have her today, ILUMINADA GARCIA-TORRES, devoted to syntax, establishing coherent systems of relationships and proposing possibilities of configuration between interdependent elements. A fortunate incursion into the analytical field of art—what we generally come to consider constructivism—which, as is known, is not a trend or an "ism" but a constant artistic option throughout history. For it is not the first time that reasons for life are sought—which is what Art is—nor the last time that a mathematical order of the system is glimpsed and geometric substance is conceived as the origin and foundation of all reality.
An incursion, or an established stay now, in the field of rigor; her sculptures, cubic and cylindrical structures of elementality, do not imply a specific configuration toward work in real space, because they are applications and demonstrations of the possibilities of her theory; an incursion, as I say, that fortunately enables the painter ILUMINADA GARCIA-TORRES to expand her creativity. Because it is about, in each case, in each work, a concrete and determined structural circumstance where a painting becomes possible—also concrete and determined—whose fundamental ingredient is sensitivity in the exercise of color and the presence of the human heartbeat in the firm brushstroke, of a single stroke and without retouching, in its exact and exclusive place.
That is to say, an open approach that we could describe as syncretic insofar as it is prepared for the practice of pictoriality—of lines, mathematics, and geometry...—and which may have important consequences.
Text by SEGUNDO GARCIA, may 1993
DIRECTOR OF THE MUSEO DE LA ASEGURADA OF ALICANTE, Exhibition catalogue COMBINABLES by ILUMINADA GARCIA-TORRES (b. 1949 Elche, Spain). Caja Ahorros del Mediterráneo CAM Alicante. Av. Oscar Esplá 37 ALICANTE. May 20 – June 9, 1993
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pag 133-134-135
ESPIRAL DE LAS ARTES num 5-6 1993
«COMBINABLES» de ILUMINADA GARCIA-TORRES
texto de José Antonio LISBONA 1993
CUANDO a ILUMINADA GARCIA-TORRES (Elche, Alicante, 1949) le llega la creatividad artística, parece entrar en una etapa de poseimiento por la idea, que no admite distracciones ni vacilaciones. Se entrega de lleno y por completo a su arte, dejando a un lado cualquier otro asunto que no sea plasmar los conceptos que se han instalado en su mente, en su vida. La artista ha presentado sus nuevos trabajos geométricos en la Sala de Exposiciones Caja Ahorros del Mediterráneo CAM de ALICANTE en 1993, bajo el título de «COMBINABLES».
Primero le ocurrió en con su serie de pinturas de Ariadna dormida, cuando fascinada se dejó arrebatar por la rotundidad y la belleza de las formas de una escultura que se encuentra en la Rotonda final de la Sala de las Musas del Museo del Prado 1986-87. Era la escultura de "Ariadna dormida", que trajo el pintor Diego Velázquez de su viaje a Roma (1630) para el rey Felipe IV —uno de los mejores coleccionistas que la Casa de Austria ha tenido para bien del país— y que el propio pintor representó en sus cuadros sobre la «Villa Médicis». Un espléndido óleo sobre lienzo de ILUMINADA, «Ariadna, realidad áurea» (130 x 195 cm.) (exposición en Galería Albatros), toma pictóricamente la beldad de piedra y la representa en dorados de arena mediterránea, con todo su abandono de un cuerpo recostado y apoyado sobre su brazo izquierdo, la estatua clásica con la mirada perdida en un tiempo irreal, mítico, arcádico...La "Ariadna dormida", la que le facilitó el hilo a Teseo para poder entrar y salir en el laberinto... ILUMINADA GARCIA-TORRES reinterpretó la tercera dimensión de esta estatua clásica en la bidimensionalidad ilusionística del lienzo, la interpretó desde distintos ángulos y, sobre todo, plasmó los anhelos artísticos de la pintora.
Después de las pinturas de la estatua clásica de mármol "Ariadna dormida", recreó ILUMINADA GARCIA-TORRES «EL LABERINTO», composiciones con cilindros, cubos y esferas, dispuesto de manera morandiana, pero representados en óleos de gran formato. Este tema preludia la geometría que de modo intensivo iba a venir después en la creatividad artística de ILUMINADA GARCIA-TORRES para la exposición en su tierra natal, Alicante, que se ha llevado la primicia de su propuesta de abstracción geométrica, presentada en 1993 en la CAM de Alicante por SEGUNDO GARCÍA, Director del MUSEO de, LA ASEGURADA de ALICANTE.
ILUMINADA GARCIA-TORRES habla de un TRAZADO ESPACIAL CONTINUO, en esta nueva obra, que ha ido agrupando en tres cuadernos amplios, minuciosos, exploradores, concretos de experiencias matemáticas, geométricas, cromáticas... El proceso cautivaba a la autora y la sumergía, como en un relato de Jorge Luis Borges, en la infinitud inabarcable de la geometría y el color. Quienes seguían de cerca su inventiva, su creación, su éxtasis, temieron si ILUMINADA GARCIA-TORRES no había sido presa en un sentido literal y directo de lo que los clásicos llamaban un «rapto de inspiración». En el mundo de la artista no había cabida para otra cosa que sus «COMBINABLES» y su reflexión teórica y filosófica. Arte y sustentación teórica se imbricaban al mismo tiempo, sin que la autora dejara la tarea al crítico o al especialista, que vendría más tarde a dar testimonio a lo hecho y visto.
«Las motivaciones del hecho y reflexión del acto de pintar me conducen a expresar que: el cuadrado es el continente del espacio, de las líneas y el desarrollo conlleva en sí mismo al tiempo», escribe en sus apuntes explicativos de su trabajo. «Llamo cuadrado matriz (universo) al cuadrado como unidad matemática.
Las estructuras cuadradas trazadas imaginariamente o representadas con puntos o líneas son referencia para la composición. Los elementos, el punto, la línea y las figuras que generan podemos interpretarlos como mundos independientes que, a su vez, participan del mismo significado que damos a la totalidad, por la cual cada geometría participa del todo y la totalidad está contenida en la esencia de un solo elemento.»
Algún día convendrá publicar todas estas afirmaciones, junto a su ilustración geométrica, de ILUMINADA GARCIA-TORRES, ya que el catálogo de Alicante se ha quedado muy corto, en relación a la magna obra que la autora ha hecho.
«Reconozco que si mi evolución me ha conducido hasta la actual creatividad artística geométrica este camino lo he podido iniciar, porque antes, paso a paso, partiendo de la realidad, pintando del natural y ahondando en ello, he llegado a la elección de mis temas. Entiendo que mi expresión en arte geométrico es la consecuencia de los anteriores procesos, impulsada en la evolución pictórica por la necesidad de expresarme con el color por el color y relacionar en proporcionalidad matemática la composición de las líneas en los cuadrados.»
«Este camino —continúa diciendo ILUMINADA GARCIA-TORRES— casi simultáneamente lo he intuido en tres lenguajes, texto (poemas), escultura y pintura, partiendo en todos ellos de una misma unidad de concepto matemático y geométrico, siendo su desarrollo, motivación y fin en sí mismo, a la vez que complementario. Estas múltiples manifestaciones plásticas tienen una estructura base que es el cuadrado, estudiado bajo la modulación espacial que se produce en su subdivisión en cuadrados, esta estructura al dar como resultado la misma figura geométrica de la que se parte, tiene una dimensión "infinita" y puede tener un desarrollo "continuo".»
En la escultura, uno de los capítulos menos conocidos y más sugerentes, todavía por descubrir, ILUMINADA GARCIA-TORRES mezcla cubos y cilindros de acero y hierro de gran plasticidad. En la exposición de ALICANTE sólo mostró la pieza «Combinable A».
Yendo al mundo de los números, ILUMINADA GARCIA-TORRES tomó como número de estudio el 18 del ángulo recto en la circunferencia, que multiplicado por 5 equivale a 90 grados. Consecuentemente, cada cuadrado estará seccionado en cuadrículas.
Espacio, líneas, estructuras, variantes, trazado, trayectoria, presión, pincel, soporte, tecnología, instrumento, pintura..., todos son vocablos y conceptos que la propia artista ha escrito sobre el boceto de los cuadernos, sobre el lienzo como golpes poéticos, elementos de dinamización, sugerencias del propio quehacer geométrico.
«El punto interpretado como génesis, origen de creación de otros elementos; lo redondo, en el cual el principio y el fin están unidos (fundidos, hecho de una vez), unidad, arquetipo, suma y compendio. Libre, como valor intrínseco y con las relaciones que establece; dinámico y transformador de la percepción del espacio. La ubicación del punto en el espacio es libre. Como el punto surge por brote espontáneo y le es propio el potencial de la libertad, es solidario y expansivo. Tiene vida por sí mismo en la expresión del arte.»
«El cubo y el cilindro, como las formas geométricas que componen las esculturas, se integran y complementan», afirma en otras de sus notas la pintora ILUMINADA GARCIA-TORRES (1949). «Continuo. Universo. Anímico. Luz. Materia, hecha, existencia. Propia. Cimiento. Intuida. Naturaleza. Libertad. Mirada... Palabras llenas de sugerencias, de ideas. La palabra no es nunca ingenua, lleva consigo cargas de profundidad. ♦ Texto de J. A. LISBONA 1993
exposición, «COMBINABLES» de ILUMINADA GARCIA-TORRES, en Caja Ahorros del Mediterráneo, Avda Oscar Esplá 37, ALICANTE 1993
ESPIRAL DE LAS ARTES num 5-6. 1993
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combinables.blogspot.com 1993
ESPIRAL DE LAS ARTES no. 5-6 1993
"COMBINABLES" by ILUMINADA GARCIA-TORRES
Text by José Antonio LISBONA 1993
WHEN artistic creativity comes to ILUMINADA GARCIA-TORRES (Elche, Alicante, 1949), she seems to enter a stage of possession by the idea, which admits no distractions or hesitations. She gives herself fully and completely to her art, setting aside any other matter that is not the expression of the concepts that have installed themselves in her mind, in her life. The artist presented her latest works at the Caja Ahorros del Mediterráneo (CAM) Exhibition in ALICANTE in 1993, under the title "COMBINABLES."
It first happened to her in 1990 with her series of paintings of Sleeping Ariadne, when, fascinated, she allowed herself to be swept away by the roundness and beauty of the forms of a sculpture located in the final Rotunda of the Hall of the Muses at the Museo del Prado (1986-87). It was the sculpture of "Sleeping Ariadne," which the painter Diego Velázquez brought from his trip to Rome (1630) for King Philip IV —one of the best collectors the House of Austria ever had for the good of the country— and which the Court Painter himself represented in his paintings of the "Villa Medici." A splendid oil on canvas by ILUMINADA, "Ariadne, Golden Reality" (130 x 195 cm.) exhibition Albatros Gallery1990, pictorially captures the stone beauty and represents it in the golds of Mediterranean sand, with all the abandonment of a body reclining and resting on its left arm; the classical statue with its gaze lost in an unreal, mythical, Arcadian time... The "Sleeping Ariadne," she who provided the thread to Theseus so he could enter and exit the labyrinth... ILUMINADA GARCIA-TORRES reinterpreted the third dimension of this classical statue within the illusionistic bidimensionality of the canvas; she interpreted it from different angles and, above all, captured the plastic yearnings of the painter.
After the paintings of the classical marble statue "Sleeping Ariadne," ILUMINADA GARCIA-TORRES recreated "THE LABYRINTH," compositions with cylinders, cubes, and spheres, arranged in a Morandian manner, but represented in large-format oil paintings. This theme preludes the geometry that was to come intensively afterward in the artistic creativity of ILUMINADA GARCIA-TORRES for the exhibition in her homeland, Alicante, which has received the premiere of her geometric abstraction proposal, presented in 1993 at the CAM in Alicante by SEGUNDO GARCÍA, Director of the MUSEO DE LA ASEGURADA in ALICANTE.
ILUMINADA GARCIA-TORRES speaks of a CONTINUOUS SPATIAL TRACING in this new work, which she has been grouping into three extensive, meticulous, exploratory, and concrete notebooks of mathematical, geometric, and chromatic experiences... The process captivated the author and submerged her, as if in a story by Jorge Luis Borges, in the unreachable infinity of geometry and color. Those who closely followed her inventiveness, her creation, her ecstasy, feared whether ILUMINADA GARCIA-TORRES had been seized in a literal and direct sense by what the classics called a "rapture of inspiration." In the artist's world, there was no room for anything other than her "COMBINABLES" and her theoretical and philosophical reflection. Art and theoretical support were interwoven at the same time, without the author leaving the task to the critic or the specialist, who would come later to bear witness to what was done and seen.
"The motivations of the fact and reflection on the act of painting lead me to express that: the square is the container of space, of lines, and the development carries within itself time," she writes in her explanatory notes of her work. "I call the 'matrix square' (universe) the square as a mathematical unit.
The structures traced imaginarily or represented with points or lines are references for the composition. The elements—the point, the line, and the figures they generate—can be interpreted as independent worlds that, in turn, participate in the same meaning we give to the totality, through which each geometry participates in the whole and the totality is contained in the essence of a single element."
Someday it will be appropriate to publish all these statements by ILUMINADA GARCIA-TORRES, along with their geometric illustration, as the Alicante catalog has fallen very short in relation to the great work the author has produced.
"I recognize that if my evolution has led me to the current language of artistic creativity, it is a path I have been able to travel because previously, step by step, starting from reality, painting from nature and delving into it, I arrived at the choice of my subjects. "I understand that my geometric expression is the consequence of previous processes, driven in pictorial evolution by the need to express myself through color for color’s sake and to relate the composition of lines with squares in mathematical proportionality."
"This path —ILUMINADA GARCIA-TORRES continues— I have sensed almost simultaneously in three languages: text (poems), sculpture, and painting, starting in all of them from the same unit of concept, its development being both motivation and an end in itself, while also being complementary. These multiple manifestations have a base structure which is the square, studied under the spatial modulation produced by its subdivision into squares; this structure, by resulting in the same geometric figure from which it starts, has an 'infinite' dimension and can have a 'continuous' development."
In sculpture, one of the lesser-known and most suggestive chapters, yet to be discovered, ILUMINADA GARCIA-TORRES mixes steel and iron cubes and cylinders of great plasticity. In the Alicante exhibition, she only showed the piece "Combinable A."
Turning to the world of numbers, ILUMINADA GARCIA-TORRES took as a study number the 18 of the right angle in the circle, which multiplied by 5 equals 90 degrees. Consequently, each square will be sectioned into grids.
Space, lines, structures, variants, layout, trajectory, pressure, brush, support, technology, instrument, painting... all are words and concepts that the artist herself has written on the sketches in her notebooks, on the canvas like poetic strikes, dynamic elements, suggestions of the geometric task itself.
"The point interpreted as genesis, the origin of the creation of other elements; the round, in which the beginning and the end are united (fused, made at once), unity, archetype, sum, and compendium. Free, as an intrinsic value and with the relationships it establishes; dynamic and transformative of the perception of space. The location of the point in space is free. As the point arises by spontaneous sprout and the potential of freedom is inherent to it, it is supportive and expansive. It has a life of its own in the expression of art."
"The cube and the cylinder, as the geometric forms that compose the sculptures, integrate and complement each other," states the painter ILUMINADA GARCIA-TORRES (1949) in other notes. "Continuous. Universe. Soulful. Light. Matter, made, existence. Own. Foundation. Intuited. Nature. Freedom. Gaze... Words full of suggestions, of ideas. The word is never naive; it carries deep-seated charges." ♦ Text by J. A. LISBONA 1993
Exhibition, "COMBINABLES" by ILUMINADA GARCIA-TORRES, at Caja Ahorros del Mediterráneo, Avda Oscar Esplá 37, ALICANTE 1993
ESPIRAL DE LAS ARTES num 5-6. 1993
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combinables.blogspot.com 1993 gravitationalwaves-music.blogspot.com1990
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