El arte es el más grande canal que logra encauzar la mente con el alma.
Todo se refleja, en el agua.
Todo se refleja, en el agua.
Para ponerte en contacto conmigo, puedes escribirme aquí: franciscapageo@gmail.com
As an artist, Pageo not only fullfills her constant duty of constructing her subjectivity, but does it in such a fragile and tricky field as collage, which sometimes seems to be ruled by a systematic ad nauseam repetition of naïve cliches. After many hard working years, her images bear witness to a self-learning process which, little by little, has displayed a strong potential and gone beyond several induced mandates.
This infinite roads leading toward self-construction, which takes place on the artist’s relationship with the image, entails a shift from a period that was characterized by a conscious will of naming, of clearly presenting her imaginary content –in a designerly way, one might say-, to a period in which everything starts being phisically incarnated, thanks to her own development of technical skills. In this sense, Pageo’s work undergoes a metamorphosis from pure figurativism –in which the formal elements depended on a certain narrativity- to pure realism –a structurally true construction conceived to be watched.
I think it’s important to point out that this evolution doesn’t raise from a substantial variation in her imaginary –she actually keeps working with similar stuff- but from the way that material is used: the technical experience – knowing how to make and how to look- gives entity, pictoricity –like a sort of cut painting-, modeling, to her work. Plastic elements that in the beginning were submitted to a fixed idea now rest upon the surface to construct the image and its visual opacity. ¿Aren’t those black areas in the photographs just marks of light, photographic matter acquiring presence while showing off the impossibility of a representational equivalence?. ¿What are those shadows that quietly outline and define something as eminently flat as a collage?, pure nonsenses that stop the gaze in the surface of the picture. They come to break the illusion of achieving an alleged meaning and then they become mere spots, mere blots. ¿Could there be a being more given to be seen than those carnal tondos? Pageo gets rid of the discursive inertia that used to engage her to an imaginary role –a feminine but paradoxically masculinizing one it was, because of that stereotypical ideation of femininity and the conviction of stating things in a total, objective way- and when she flops down on the structure and lets herself be swept along, in that precise point, her traced subjectivity is put to actuality.
by Héctor Rey - visual & sound artist
