The exhibition, which revolves around skin, time and substance concepts, will be the first exhibition that the gallery dedicates to the artist, who is the latest addition to the list of artists represented by TAT ART.
The exhibition will show the most recent work produced by Vicky, a constant journey through the divergences and painting codes understood as vivid language, place of experience, desire and narration.
Vicky Uslé investigates the possibilities of abstraction and, through the superposition of brushstrokes, forms, colors and perspectives, forms a fabric of relations practically infinite not only of plastic but also of poetic meditation of color. Thus, such meditation could connect the viewer with the world of ideas, linguistics or the spider web of information.
Their works harbor a certain tension between organicism and geometry, consistency and lightness, and there is always in them a principle of movement that confers them instability, although there is also a vision of determination. Uslé's abstractions function as visual, perceptual, autonomous and recreational panoramas or horizons. In many of her paintings the artist seems to be related to oriental calligraphy, sweeps and shades of the screen and the curtain, the paper or the introspective atmosphere of the Japanese house, all in a progressive crescendo and decrescendo of crisscrosses that form orders and relations.
Vicky Uslé uses oil and acrylic to investigate the possibilities and results that their combinations produce creating a whole poetics of the material.
Vicky Uslé lives and works between Cantabria and New York. She has exhibited individually in cities of Europe and the United States. Her work is part of collections such as Colección Banco Europeo, Museo Reina Sofía, Colección Caja Madrid, Museo de Arte Moderno y Contemporáneo of Santander, Museo de Pamplona, Centro de Arte contemporáneo of Malaga or the Simon de Pury Philips Art Collection of New York. She ewcived the IV Prize Adquisición Fundación Cañada Blanch and the Prize Adquisición Colección Navacerrada.
Un Ligero Cielo Amarillo
Text by Vicky Uslé
In April, while I was working on some of these paintings in my small studio in NYC, I opened a little book of haikus that I keep with me and I came across this one by Kobayashi Issa:
Spring has arrived
with all simplicity;
A light yellow sky.
I paused again before going back to the small room, returning to the space of the other gaze.
Permanent and timeless, the painting progressing, slow and far from space and time, but in constant movement, barely perceptible, breathing, lingering.
It is not easy to look at painting, its permanence and substance generates a space conducive to reflection. The more we look, the more we see, and the painting allows us a marvelous form of concentration, allowing thought and gaze to combine in a complex exercise of experiences where innumerable mechanisms concur, in our mind, our imagination and our body. If we connect our skin, its skin, and many other things, they melt in that slow embrace. Only in this way, removed from time, will we be able to penetrate the surrounding membrane and perceive the pulsations of its internal time, the time of our attention and our search, the time of the image without time and its process.
Intense and reflexive conversation, always inviting us to know it, to walk it and to embrace the encounter with the unexpected.