Art Statement
Amparo Salcedo Romero
The aims of my vision begun with the desire to evolve and transform my photography as well as my paintings in 3D forms through the connection and desconnection of contact. Contact with the material and the spiritual, the real, the illusion and the human sensations were all interest. This idea begin with looking and researching the artwork that spoke of dematerialisation, reconstruction, action painting, kinetic art, and conceptual evolution of painting, which are now all influences that develop my work. Eva Hesse painting/ sculpture, following to Angela de la Cruz canvas with distortions and human and Cornelia Parker such as 'Colder Darker Matter' which she describes as a charcoal drawing and 'An Exploded View'1991.
With my artwork I want to explore the sensitivity of the medium, the human sensations with it and its will to evolve to other spaces. A flat surface that to break its boundaries opens itself to extend to the outside. Dematerialisation, reconstruction, action painting, kinetic art, and conceptual evolution of painting are all involved studies of my work. My influences were artists such as Louis Morris with his stained canvas and his no representative image that made his paintings an object in itself. Lucio Fontana with spatial concepts as well as the vision with the material itself, Rothko with visual illusions and visual absorption. In addition, the study of Kinetic Art and Optical art with its philosophy of space, time, and movement,for example; Gabo's linear works 'between the visible and the invisible, the material and the immaterial, Yves Klein with the sponge that absorbs the colors of the world (energy).
Then I grow interest in body art and action painting, the implication of performance with painting which ideas where parallel to artist that would work with landscape such as Ana Mendieta with her silhouettes, and how such works would involve interaction of the artist as a mark on the artwork but yet letting free the nature of the media.
These interactions brought me to review my ownrelationship and language with my artwork. My vision sees my painting as performer, more physical, even more human. In 2004 I had two exhibitions in London where I showed this theories of texture and sensibility for the medium as well as my vision for painting evolution, using a variety of oil paint, pigments and gels that gave a greasy sense like ' the skin.' Cutting the canvas and working with it the struggle of liberating to 3D engage the human contact, more alive. Trying to belong and adapt detaching and attaching inside itself.
The photography reached more dimension through unification and disintegration, a question of oneself in an ethereal belonging, a philosophy of reflection, the illusion of choice, of depth of the unknown, all in black and white. Its kinetic lies as well in its audience moving around the work in an installation setting. The photography progect had only been showend by prints and not yet trough its true form of installation/projection.
At the moment my painting are developing in concept and closer materials that talks exploring deeper the tenssion of movement and dimmension, the feeling, the personal and the relationship with the work. A language that speaks of life experience, adaptation and individuality, ambiguities of hard and soft, emotions of detachement and attachments with the material and emmotional relationships that connect with its transitions of change, a net and its in and out patterns of visibility.
