Gabriela Boer

La Plata, Argentina

 The sense of the elusive is a great obsession that is present in all my works, relating them conceptually, though this may not be as obvious visually. Each group of work forms one facet of this idea, and I explore it for a time like following a thread that visually links groups of works made under the influence of a larger concern. I work by thinking about the work I’m doing at the time rather than as belonging to a set designed beforehand. Formal ruptures are due to my constant questioning of each individual work and of the conceptual sets in general. This is a peculiarity of the way I work. I try to make each work a bridge to the interior of the person who looks at it, like a small mirror, and basically any stimulus may become a source of daily inspiration.

Within geometry as a language of formal poetic discourse, on one hand I use knowledge developed by Gestalt and used in optical art, and on the other large contrasts of color used in a sensitive way. These means are effective both in generating some unease in the eye of the beholder and as visual elements that unite the work. Color is applied in a flat, homogeneous way, generating contrasts of temperature, tone and value expressively. I don’t use systems to define what colors I will use in advance; rather this is a delicate matter that I determine as I work. This use of color is extremely important; the work will assume its final form as influenced perhaps by a video, a movie, something that happened to me while walking down the street and even advertising, a dress or the painting of another artist. The making of my work and what it demands of me requires time since I do all the painting freehand, which imparts a soft, expressive quality to its finish—quite different from what might be expected of a geometric work that flirts with optical art in its visual complexity—a line that although it does not appear to wobble is not as hard as a line formed with masking tape. This type of contrast produced contradictory and disturbing effects when I exhibited series of works like “Random Links,” “Ondulaciones” or “Pequeños Movimientos,” which are generated by computer software.

I am interested in geometry because we habitually use it to relate to space, as in our physical habitat or environment (in the design of cities, public spaces for recreation, our homes and most utilitarian spaces), as well as for storing knowledge and thoughts (software development is a very clear example of this) and within the history of art through its ability to generate the poetic within the historical moment in which the works were made. Very important to me were teachers of European modernity like Piet Mondrian and Bridget Riley, for example, and local artists such as Carlos Silva or Cesar Paternostro initially, expanding my knowledge during my studies at university to Americans geometric painters like, for example, Peter Halley, who had a different purpose, working with a concept from which to develop an extensive series of works. The influence of all of them as well as many other issues are included in my work in one way or another.

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