Organic and Tangible

Marta Ares and Montserrat Urgell

October 23 – November 13, 2014

The paintings of the young Argentinean artist Montserrat Urgell can be seen as an analogy of the vibrato, that effect or technique used by singers and musicians to add expression to vocal and instrumental music that is described by the regular pulsating change of pitch or frequency: irradiation, in this case, of light and color invoked by the forms and shapes that pile and stack up against each other as an unequivocal symptom of anxiety and the urgency of life.

The artist’s work is exactly that, a pressing and vital invitation to experience form expressed on canvass, with great passion for color even in the monochromatic spaces that anticipate the latent burst of color that is about to take place.

What is so striking about these paintings is that by nature, they can be conceived in all kinds of spaces: public, on account of their dynamic abstract design and the very concept of “cluster” they render; and in more private settings on account of the more playful and ludic detail which demands greater attention.One way or the other, the art provides a vibrant and radiant aesthetic that can change our perception of things on a daily basis.

The works of Marta Ares implicitly invite us to both observe and dance; art forms that most certainly encourage a diverse precognition of what knowledge and feeling entail, and what it actually feels like to know that you are face to face with an amorphous blob filled with color and meaning. Pictorial art, in its extended plateau of visual and theatrical feel, has throughout history, been penetrated by an irremediable magnificence that is linked to all the senses, not just the mere sense of sight; photography is by no means an exception to this cosmogonic concept of form and color.

When we lay eyes on her large photographs of unmistakable character, the first thing that comes to mind, is the sphere of a microscope to witness an epiphany, a “bacterial colony of happiness” where the topos or basic concept verges on an area of organic light that is able to recreate the dispersion and contour of these color filled blobs in a concrete, functional compositional context, never exempt from their dynamic vigor.

The association between rumba and funk (or RoomBA Funky as it was originally conceived in Buenos Aires in 2008) in this stage of Ares’ productive artistic career, is an absolute certification of the rhythm and movement that linger on in the stillness of an image that is just as unsettling as it is exclamatory, like the spark that kindles the brightest of the pagan bonfires of contemporary art.