C/ Lope de Vega, 22.
28014 Madrid.
Tel.: (+34) 91.389.60.73
contacto@aranapoveda.com
Rosana Antolí presents us with a collection of works belonging to her series titled “I am young. I BORE MYSELF.”
Beginning with this shocking and contradictory premise, Rosana Antolí delves deeper from a character markedly autobiographical in the conflicts and dilemmas of a generation that despite the appearance of having everything to be happy, is found immersed in a deep dissatisfaction with life.
In the series of drawings, she reflects on interpersonal relationships, the relationship of the couple, sex, the complexes and the insatisfaction that these create, the lack of communication and personal moral dilemmas that surround the people of her generation.
In the video “The Lovers” through the means of stop-motion animation, she presents us with the complex dynamic of a couple that complements each other to the point of phagocytosis, they consume each other in their weariness of each other.
The work of Rosana Antolí (Alcoy, 1981) is surprisingly figurative. When we say surprisingly we mean that despite her youth, in her work we see recognizable influences and styles of a distinct figurative character despite the fact that nothing interferes with the overall impression of modernity and reality in the vision that her work creates. Maybe because this is the principal characteristic of her work, The bursting sensation of modernity. Without resorting to elements supposedly modern or dramatic, and even less to ground-breaking techniques, (Rosana Antolí works essentially with simple materials such as paper, charcoal, pastels and stop-motion) each one of her works remains perfectly contextualized in its exact moment.
Maybe this contributes to the fact that based on chance, her models are accidental, including occasions of ephemeral moments in which none of the those portrayed are aware of what the visual retina of the painter is planning for them in her new work. By the means of the individual portrait and the universal, she looks for the most sacred, hidden and intrinsic parts of the person. The look when they don’t know that they are looked at, their ego without falsehood, their true identity, not an outward pose. She looks for these portraits that manifest implicitly their gesture, expression and moment of intimacy.
She observes, studies, follows the people, acquaintence or not, waits predatorily until they are defenseless, unposed, she is free in her beliefs, to attack their look, she takes them in this instant, this intimate moment and decontextualizes any environment, she makes everything centered on them. Without confusing privacy with intimacy, none of them become a part of exhibitionism, voyeurism, it is for privileged beings to see the beauty of the human being in its most pure state, without the mixture of outside influences or masks.
