LC Series 2019-
HP Series 2018-
This latest series of paintings dwell on certain aspects of landscape paintings explored by some painters from the German Romanticism such as Caspar David Friedrich, that depict tropical and exotic lands through the veil of the Romanticism: Seasonal centre European colours were superimposed to equatorial places, where foliage high and low are more brown than emerald green, and skies are never bright blue but grey or white.
Yet those paintings are incredibly spiritual and philosophical affairs, painted to afford the viewer a unique experience: beyond the sharing of a view framed in a specific composition, details captured the cycles of life, and drawing the eye of the viewer from the light to the darkest crevasses. Those paintings were made for contemplation. This series are exercises of memory and nostalgia, since the artist is looking back to her country and its landscapes, Venezuela, with a sense of loss and foreboding. The making of these paintings usually require a lot of time: they are Zen-like exercises in observation, and as a result, incredibly detailed.
The oval format had been chosen to emphasise this sense of the unrecoverable past, since these formats quote the old still life and decorative arts. Yet, these depictions of detailed masses of darkness and broodiness seeks a discerning eye for the compendia of monster-like tropical plants and their menacing beauty.
These small canvas boards started life as repositories of left over paint from studio daily sessions. The backgrounds are the result of built-on oils that generate un-planned abstract backgrounds. The image worked on top those spontaneous backgrounds are suggestive compositions, mostly landscapes, that originate from photographs, as it is usual in Renata’s creative process. These photographs are part of her photographic archive of urban jungle landscapes – usually from her natal city, Caracas- but also include rejected photos from the family album such as out of focus, accidental and unflattering snaps that caught Renata’s attention.
Renata places these boards hanging from a piece of wood at an angle of 15 degrees facing upwards. Or hangs them as pairs, reflecting the way Renata works on them: usually as pairs, repeating a motive and re-interpreting it, thus showing the creative process as a painting in two stages.
As these works are usually small, their dimension is suggestive of a realm of intimacy for the viewer. Indeed, these works need to be enjoyed one person at the time, and from up close. The upward inclination mimics the angle we use to view our electronic devices.
As these works are usually small, their dimension is suggestive of a realm of intimacy for the viewer. Indeed, these works need to be enjoyed one person at the time, and from up close. The angle upward angle mimics the angle we use to view our electronic devices.
HP Grey, sub series.
The custom made frame is made with found plywood, cut by Renata using a router. By exploring the sculptural qualities of all the painting’s elements, Renata intends to emphasise their materiality, hoping to take the painting beyond its inherent bi-dimensionality