I discovered the work of Cristina Gamón in February of 2012.
She was a very young artist back then, although she already had a BMW award that recognized the excellence of her talent as a contemporary emerging contemporary artist.
Her painting caught me.
Somehow she awakened in me the need to start my own path as a gallerist.
We could formally fit her painting within the lyrical abstraction but I would say that it is much more. So much more, undoubtedly.
The implicit complexity in her work is the fruit of the greatness of her concerns. Cristina Gamón lives filled in her own universe of creation in which she suffers and enjoys developing an absolutely personal language. The simplicity of her presentation is the result of an invaluable capacity of reflection in her work. She investigates, studies, reads, analyzes, meditates, obtaining a result of an undeniable coherence. Her creativity is overwhelming, her ability to work is praiseworthy, her spontaneity, extraordinary.
With the passage of time her work has consolidated and, those who have followed her career, find signs in each new work of connotations of who owns certain mastery in their work, managing to recover in each new meeting the conversation where it was.
When admiring the work of Cristina Gamón we should probably take into account different perspectives that play, all of them, an important role in the final result: support, painting, gesture or intention. Each element is gaining a notable relevance in his work, forming part of that fun as great as playful for the artist and for the viewer.
His work is presented in different series: Marine Landscape Figure, Territories, Places of the imagination, Instable Paintings, Paintings of the Midnight Sun. All of them perfectly describe the whole of their work, we can observe it clearly in highlighting the author each word with a capital letter from which we deduce that, even looking like names of poetic inspiration, each term has been chosen minutely. And, although there is obviously a chronological order in its production, this does not imply that a rigid order must be established in its presentation, there exists among its works a thread that transcends the visual, which belongs to the field of sensory, emotional and As such of formidable intimacy.
Figure Marine Landscape corresponds to a denomination born in nineteenth-century France that standardized for the first time the frames with a defined metric. It is at this point that I would like to focus on the importance that the support has in the work of Cristina Gamón. She has chosen methacrylate as a basis for her painting, a material that began to be used in the avant-gardes of the early twentieth century and which has used different techniques at different times, such as Moholy-Nagy, Arman, Lourdes Castro, Robert Rauschenberg , Ohnsmann Klaus, Donald Judd, David rodriguez Caballero, Carlos Aires or Daniel Buren (narrative following an approximate chronological order). To them, like Cristina, they were attracted by their ability to capture light, coupled with that transparent and apparently malleable quality. The methacrylate is an element that forms part of the painting without intervening in its final result, in the texture or the absorption of paint and when it does it is by express and explicit will of the author.
In Territories we can observe a natural evolution of the first Land Scapes where it is clear the complicity with the ludic. The gesture becomes irremediably protagonist, to approach us, to envelop us, to make us escape into a landscape whose limits are only imposed by our imagination. The security that gives an increasingly meticulous control of the technique flows towards a symbiosis between format and content. This first sheet of methacrylate appears perforated in points chosen by the author, the back appears as a background granting perspective and escape the color, the frame appears as a supporting element, on which supports the freedom that acquires the painting, that transparent lightness that It overflows our emotion.
The spectator in the work of Cristina Gamón is never passive, he is invited to take part in the work, to feel the emotion of that gesture and the voluptuousness of the colors that amuse themselves in a suggestion of reflection where the mediation is product of the contemplation .
Places of the imagination is an installation whose origin is in the journey that he undertook during his residence at the North Pole. He made an artistic expedition, for ten days and ten nights, by boat from Svalbard. There he learned how in the Arctic regions distances are measured in dreams, in nights, an argument that transferred to a dream context takes on a much broader dimension. Concerned about the different theories of color, it beats Goethe who developed his own from the idea that colors are not an objective concept but an absolutely subjective reality, a theory that even though it was rejected from a scientific point of view, Which would build the psychology of color. And once again, his interest always present to investigate, to find questions and their answers, leads him to develop a whole work around the polarity and proximity of the lights and the shadows and the colors that arise there taking into consideration the Chromatic circle.
This series is a turning point in its evolution. It seems that you will begin to want to give each element the relevance it has by presenting them sometimes united, sometimes separated and sometimes complementing. Experiment with everything again, include pictures that explain, includes the circle and isolated colors, always looking for those imagined places that are intermingled between the dream and the real.
With the unstable painting, the author definitively breaks with the limitations imposed by the frame despite the rigidity of the material, both the painting and the medium need to go out of their habitual forms and does it wrapping them in a nostalgic reflection on the painting in tapestry, the Decadence of the painting that she herself expresses in a phrase that summarizes both her intention and her aesthetic: "... suspended as artificial cascades inspired by a landscape of glacial languages that drag and deposit the saturation of painting ...". Everything has an aesthetic and ethical justification in his work, so it is so solid.
The disorder is absolutely under control; The composition as free as studied; The content tremendously calm despite an especially dynamic rhythm; The painting overflows the atmospheric intention to generously offer a scene as deep as personal.
If we take into account that self-knowledge arises as a need to know our identity, which is created through the experiences and knowledge gained in our existence, art becomes a link with the world and a means of communication outward, and At the same time a way of searching in the deepest of ourselves.
The creation is that which transcends the essence in Cristina Gamón. It is an overwhelming energy that expresses his concerns and questions the world around him, the human being and the relationship between both. It takes the license to entertain in the interesting way to run the answers to all the questions that appear as it travels by what we so gladly call life. The work is for her the means to express a conclusion, it is her way of sharing generously all that moves and sustains her. It invites us to stop before her, to delight and to converse entangled between our own thoughts.
Light. Blue. Atmosphere. Violet. Water. Jade. Waves. Yellow. Air. Green. Vibrations. Vermilion. Earth. Purple. Heaven. Cyan. Mar. Marino. Sand. Ocher. Ice. Light blue …