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Pensamientos sobre un futuro pasado

 

 

 

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                                                                                                                                                                                  Written by Crina Isabela Ilies
 
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 English translation
 
 

El multiculturalismo, representa una oportunidad más, de comprender los verdaderos problemas del patrimonio espiritual de otros países del mundo. Si permanecemos atrapados en nuestros propios recursos espirituales, perderemos para siempre la oportunidad de una comprensión más profunda de la universalidad, a través de todo lo que representaría, ya sea en el arte, la literatura o la fenomenología histórica.

 

Ruby Garín Duque (Duque de Garín, seudónimo dedicado a su madre) Nace en noviembre de 1976 en Santiago de Chile. Su visión sobre el mundo y la vida fue moldeada por la prudencia y la disciplina de la Escuela Católica de Santiago. Tal vez una simple mirada hacia la ventana, durante las horas que pasaba en la escuela, era suficiente para recuperar su equilibrio espiritual, tan necesario, una promesa sincera de algunas señales tangibles, lo que podría ser un nuevo camino de algunos elementos espaciales, tan familiares durante su infancia.

 

¿Qué pudo haber creado esta profunda conexión con su espacio? La cima de algunos árboles, las nubes infligiendo su imaginación, la verticalidad en estilo neogótico puro. Todos estos elementos representan su huida hacia sí misma, tratando de encontrar un equilibrio entre el mundo exterior y el suyo propio. Tomando nota de sus capacidades de pintura, fue su madre quien la lleva a participar en talleres artísticos, donde tiene su primera conexión con esta técnica, dimensiones y proporciones, construcción del paisaje, en las que el juego de luces y sombras, la tridimensionalidad y los planos en la pintura fueron los cimientos de sus técnicas futuras. Sin estos primeros contactos, no habría sido capaz de progresar en su propio brote como artista.

 

A los 19 años trabajó en una galería de arte en Santiago, alternando sus estudios profesionales de Decoración de Interiores. Así, tiene la oportunidad de conocer el mundo artístico de la ciudad y de otras regiones. En un ambiente en el que críticos de arte, poetas, escritores, músicos y artistas pudieran expresar sus propias ideas y  creaciones, lo que tuvo un impacto positivo y una definición de su camino.

 

Mas adelante, organiza galerías itinerantes en diferentes ciudades del país, tomando contacto con varios artistas y sus obras. Enseguida entendió cuál es la tendencia en la pintura, dando forma a su propia hoja de ruta.

 

En la vida de cada persona existe un momento en que se reunirá por primera vez al mentor. En este caso el maestro Manuel Gómez Hassan, es quien le guiará a encontrar su camino en las coordenadas adecuadas de su propia visión sobre la composición y la expresión, considerado el punto de peso de su iniciación en esta área, en la que ella, necesitará la experiencia y vocación de un artista reconocido en los medios del arte chileno. 

 

Muy pronto, es capaz de crear varios criterios de la pintura, desde el paisaje, el retrato y el expresionismo.

 

Actualmente vive en Barcelona y está dispuesta a proporcionar de nuevo, la validez y la importancia del multiculturalismo en este maravilloso lugar, en el que el arte y la vida están tan profundamente conectados. 

 

Para Duque de Garín, el arte no es un fin en sí mismo, sino la más bella manera de comunicarse. En esta área de las artes, donde los espacios se convierten en volúmenes y colores, quiere expresar una visión sobre el cruce entre su mundo y el que la rodea.

 
 
 

 

 

Thoughts about a future past

 

 

 

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                                                                                                                                                                                  Written by Crina Isabela Ilies
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Spanish translation
 
 
Multiculturalism represents one more opportunity to understand the real problems of spiritual heritage in other countries of the world. If we remain trapped in our own spiritual resources, we will forever lose the opportunity for a deeper understanding of universality, through all that it would represent, whether in art, literature, or historical phenomenology.
 
Ruby Garín Duque (Duque de Garín, pseudonym dedicated to her mother), was born in November of 1976 in Santiago of Chile. Her vision about the world and life was shaped by the prudence and discipline of the Catholic School of Santiago. Perhaps a simple glance toward the window, during the hours spent in school, was enough to regain its necessary spiritual balance, a sincere promise of some tangible signs, which could be a new path for some spatial elements, so Relatives during their childhood.
 
What could have created this deep connection with her space? The top of some trees, the clouds inflicting her imagination, the verticality in neogothic pure style. All these elements represent her flight to herself, trying to find a balance between the outside world and her own one. Taking note of her painting skills, her mother had convinced to take part at artistic workshops, where she had realized her first connection with this technique, dimensions and proportions, landscape construction, in which the play of light and shadow, three-dimensionality and the planes in the painting were the foundation of his future techniques. Without these first contacts, she would not have been able to progress in her own outbreak as an artist.
 
At age of 19, she worked in an art gallery in Santiago, alternating her professional studies of Interior Decoration. Thus, she had the opportunity to know the artistic world of the city and other regions. In this environment she took contact with art critics, poets, writers, musicians and artists who could express their own ideas and creations, which had a positive impact and definition of her future way.
 
 
Later, she has organized itinerant galleries in different cities of the country, making contact with several artists and their works. She immediately understood what's the trend in painting, giving shape to her own road map.
 
 
In the life of each person there is a time when he will meet the mentor for the first time. In this case the teacher Manuel Gómez Hassan is the one who will guide her to find her way and the proper coordinates of her own vision in composition and expression, considered the point of weight of her initiation in this area, in which she will need the experience and vocation of an artist recognized in the Chilean art media.
 
 
Very soon, she was able to create various criteria of painting, from landscape, portraiture and expressionism.
 
 
She currently lives in Barcelona and is ready to provide once again the validity and importance of multiculturalism in this wonderful place, where art and life are so deeply connected.
 
For Duque de Garín, art is not an end in itself, but the most beautiful way of communicating. In this area of ​​the arts, where spaces become volumes and colors, she wants to express a vision about the cross between her world and the world around her.
 
 

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Trying to get a message from any expression of art, be it painting, sculpture or literature, I would be tempted to search the human element of any of these compositions.

 The human presence would be perhaps more significant being in the central plane of the painting, to provide some stability of the message. We can find it so easy looking the profile of the goddess of ancient Egyptian sculpture named Nofret, the perfectly rendered volumes of the ancient Greek statue, from the slightly mysterious smile of Mona Lisa,  or the ultimate expression of fear from Duchamp's paintings. So, there are so many ways where to choose from.                                                                                                                                                                                                                   Here, instead, in these paintings of Ruby, this presence is missing entirely. The viewer himself becomes participant to composition. He will get the chance to create his own world.

The painter proposes us a peek into our own amorphous world, constantly moving, towards a hypothetical Centre, hidden behind some material volumes, old soldiers imprisoned in an eternal petrification. The size of the clear-cut lines offers the promise of some spaces just as clearly as a certain tinge of binary Cartesian source.

It would be too simple understanding such a message consisting only in the conditionality created between two facts; the reality and  inner being of the painting; Thus, we should not take into account the spatial fracture dictated by a new external logic, which appears in this aisle.

These paintings are suggesting us a dynamic understanding about sizes and spaces. Apses and volumes appear from an ancient history, rivers of moving geometries recalling the beginnings of a forgotten world or, why not, a nowadays cavern of our world, in which the human being, hiding from any reflection of his presence, takes in account his chance to discover another space following the vectors of these lines, searching the CENTER.

This obsession of the Centre is terrifying; the promise of fulfilment of his searches in this world had followed him all the time. The labyrinth of the ionic world in which Theseus had won against Minoan Bull near the central axis of the labyrinth was a promise for him to enter into a perfect world but his human condition had stopped him to follow his destiny doing so.

He had not stepped to the centre of the labyrinth; he had preferred to return in the arms of the Ariadne following the thread of a Clew of wool that she gave him before entering into the labirinth. Did he win or lost when he got this judgment? We do not know; to get such a response, we always need the deployment of two hypothetical consequences, but unfortunately we can choose only one.

So once again, regarding these paintings, even in their Centre, little by little, they reveal, however, the opportunity to discover a new dimension of Eden, embedded in amorphous circles, hidden in the fragments of the translucent spaces; a quiet world of an ambiguous materiality in which the colour does not exceed through violence, but only through its smooth shadows belonging to a real world.

This new arrangement of the primary elements, a game in which impossible spaces, leaving the formal logic, are coming in front, covering the real world, here's a special thematic approach, which should not be commented at all. Here, everyone has his own interpretation. At least here, we may be ourselves, we have to leave at least once the formal framework of a binary logic of a linear existence.