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Ruth VidalGreen and orange folds, coral texture, organic cotton canvas2025
2025
About the Item
This year, 2024, the artist Ruth Vidal (1998, Isla de Arousa) launches her latest research into painting and games. These works are based on the references that the artist draws from fashion textile production, using the inflatable paint that is used in drawings and texts printed on many of the clothing items that we use on a daily basis. The Galician artist assembles and superimposes multiple layers of paint that swells little by little, adding thickness and thickness of matter that she also subtracts in her process.
The result is a unique and special series of paintings. These works have already been exhibited in the Pontevedra Museum (Vigo), the Manolo Eirin Gallery (A Coruña), Atelier du Hezo Art Contemporain (France), Faro de Vilaño (Camariñas) among others.
The dimensions of the work are 20 x 20 x 4 cm. The piece is full of details and hidden games so that every time you look at it you see something totally different, there is optical illusion, there is a game of shapes and many volumes, paint that agglutinates and becomes stronger and more attractive.
Inflatable painting on cotton canvas with wooden frame. The title is "landscape - land"
- Creator:Ruth Vidal (1998, Spanish)
- Creation Year:2025
- Dimensions:Height: 7.88 in (20 cm)Width: 11.82 in (30 cm)Depth: 1.58 in (4 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Carballo, ES
- Reference Number:1stDibs: LU2117216040452
Ruth approaches the construction of the image from materiality and superposition. The form of her painting is chameleonic as it folds back on itself, hiding and revealing its own process. Her use of inflatable ink, transferring techniques from engraving to the field of painting, generates vibrant surfaces where monochrome acquires an enigmatic intimacy, in tune with the research on painting as an object carried out by Angela de la Cruz in “A painting trapped in its own body (2015)”, as well as influencing the exploration of the material-conceptual game of artists such as Anselm Kiefer. The works themselves guide us to understand the emotional charge involved in her process, with dozens of chromatic layers juxtaposed in each of the works. In her particular reflection on the evolution of abstract painting in the 20th century, the artist navigates through lyrical abstraction from Mark Rothko to Josef Albers, proposing an experience where the perception of color becomes a sensorial and almost tactile issue.
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