ARTWORK DESCRIPTION:
In life, we have the existence of past, present and future, and having each one of these instances confronted with each other in multiple forms. Some, as Nietzsche and Bauman suggest, will de-identify or break any sort of connection with their past experiences. Other, like Bergson, recognize the importance of memory to achieve a true conscience and perspective of the present. I think, the real perception is accompanied by our memories. Therefore, the landscape becomes an object of philosophical reflection, as each one of us perceives the landscape we encountered in a different form. And it is within our interior that memory persists, such that it transcends the material and resides within ourselves, memories that cannot be affected and are immune.
In this painting, the use of colors and the way they are overlayed, embody and construct the memories of two different stages in live, two different places represented as territories that join like psychogeographic maps. A place, a space, and an urban neighborhood, as said by Chombart de Lauwe, is not determined only by its geographical factors, but by the representation that its inhabitants and those of other neighborhoods have of it.
Each individual has –and lives - his own world. We are walking through a drift and we are forming maps, psychogeographic maps that are unique to us - to each human being. In this space, both the territory and the emotions, despite being independent, are not isolated. We go through spaces full of experiences that manage to minimize and eliminate the border margins of those territories in which we once walked. Everything is linked through this drift, this ”route” - and it becomes a single piscogeographic map.
A unique place and state that is what we are today. And we keep moving forward, tomorrow, we will be different.
BIO:
Luciana Espinar Protto
Studied Plastic Arts with a major in Painting at the Faculty of Art of the Pontificia Universidad Católica del Perú and complemented her studies at the Central Saint Martins (University of the Arts) in London. Within her specialty, she constantly investigated how to reproduce the interpretation of different sensations, emotions and moments. Furthermore, as part of her process, she tends to explore other materials, such as ceramics and stone, through sculpture. Among its exhibitions are different groups, such as Art from the Emergency, at the ICPNA; Art as a Medium of Expression, at the Amano Museum; her individual “Constant Transformation”, at the Boulevard de Asia Cultural Center; various exhibitions at the PUCP Cultural Center; among other.
Influenced by Impressionism and Expressionism, her early works have an inclination towards geometry and forms that go (de) constructing reality through abstraction. Later —and to date— a more organic trend can be seen in her work, inspired by nature and in capturing her experiences. “Experiences, emotions and permanent research are an essential part of my process as an artist. Painting allows me to go back to other spaces, to capture experiences, thoughts, what I have observed and what I have learned. In this way art arises, due to the need that human beings have to express what is not rational in oneself ”.
Her tendency towards abstraction is based on the concern of wanting to generate interpretations of realities other than what is strictly natural, to reproduce consciousness itself. In many cases, she uses metaphor to represent various sensations through a new lyrical language; proposes a new reality based on its own sensory language. Her work has lines and multiple layers of glazes that allude to memory and time in constant movement; a representation of experiences and moments that carve our present as a result. From reflection, it can be seen how, both in reality and in painting, we constantly face change. For the artist, the representation of landscapes is perceived by each person in a different way, each moment becoming unique within memory. Nothing is the same twice.