Soledad Sevilla Espacios Ficticios. Obra 1969-1980

08 May - 18 Jun 2021
Espacios Ficticios. Obra 1969-1980

Overview

«With the reiterative use of the line I try to create a magical, mobile and surrounding atmosphere, full of light and gloom, that is greatly a fictitious space, since the geometric abstraction in which I am immersed has a marked paradoxical character, for if on the one hand it is consolidated as a whole of mental creation, on the other hand it represents a surrender to a sumptuous and decorative purpose, subjected to purely sensual values.»

Soledad Sevilla, Memoria Boston, 1979.

 

Ana Mas Projects is pleased to present Espacios Ficticios. Obra 1969-1980 (Fictitious Spaces. Work 1969- 1980), the first monographic exhibition by Soledad Sevilla in the gallery. The exhibition, which revive one of the most significant stages of the artist’s production, gathers a collection of paintings and works on paper from this period; germinal moments in which the characteristic universe of variations of lines and weaves is consolidated, which would mark her artistic work throughout her career.

The way in which Soledad Sevilla (Valencia, 1944) conceives the works on display is unique and, in a certain way, this is revealed by the series of drawings that compose the groups of works. Weaves, patterns and grids, originally born from precision and technical mastery, are suddenly affected by the artist’s sensitivity and intuition when applying a rich set of variations based on the deletion and addition of elements, and turns, movements and chromatic alterations, mutating into new and unsuspected configurations endowed with an undoubted rhythm and dynamism.

Without the slightest doubt, Soledad Sevilla’s participation in the Automatic Generation of Visual Forms Seminar at the Computing Centre of the Complutense University of Madrid between 1968 and 1973 was decisive in the development of that preference for geometry and the purity of lines and colours expressed in modular structures. Interests that the artist perfectly reflected in the dossier that she presented for the scholarship of the United States-Spanish Joint Committee for Cultural and Educational Cooperation and thanks to which she could move to Boston between 1980 and 1982, where she came into contact with the mental universe of the American plastic arts and especially with minimalism, which led her to produce what would become one of her most decisive stages.

Thus, some of the works in the exhibition are constructed from simple linear elements strategically located on the plane. Others, from the proliferation and superposition of weaves and grids that seem to aspire not only to fill the pictorial space but also to go beyond the frame, evoking an infinite proliferation. In this sense, Soledad Sevilla’s commitment with the space is clear, since the lines she traces, despite being two-dimensional, show a clear expansive will. In fact, it would not be foolish to think about these lines as the nascent or primitive status of the installations that the artist carried out later, in which graphite or ink are replaced with copper wire and cotton thread and that implied the definitive occupation of the exhibition space.

The drawing, and the line in particular as expressive element, is transformed in these works, on the one hand, into a tool for understanding the world, a method by which thoughts are processed, intuitions, sensations or energies are shaped, and translated into a tangible language; and, on the other hand, into a tool that generates fictitious spaces to redesign the world creating illusionary spaces that show us any real space as even more delusional.

It is no surprise that the spectator finds their gaze trapped in those networks and reticular spaces, since it is because of the delicate combination of lines, geometry, light, space, rhythm and colour that Soledad Sevilla’s art breaks with the literalness of languages and goes deep into the poetic and emotional field, thus compromising the senses of those who observes it.

Soledad Sevilla was awarded the Velázquez Award for Plastic Arts (2020), the Art and Patronage Award (2014), the Gold Medal of Merit in Fine Arts (2007) and the National Award for Plastic Arts (1993). Her work is part of important collections such as the ones of the Museo Nacional Centro de Arte Reina Sofía, the Museum of Contemporary Art of Barcelona, the “la Caixa” Foundation, the Helga de Alvear Foundation in Caceres, the art collection of the European Parliament, the Marugame Hirai Museum of Contemporary Spanish Art in Japan or the Künstmuseum Malmöe in Sweden, among others.

 

Loida de Vargas

Installation views