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Fragments, remains, silence.

Jorge Juanes 

I love the emotion that corrects the rule. I love the rule that corrects the emotion. It is necessary to discover, but be careful not to explain.

Georges Braque

For most of its history, painting has been devoted to all kinds of representations: religious, mythological, historical, political, realist, symbolic... But since the avant-garde, especially with unobjective painting, it set out to explore in essence its intrinsic possibilities: morphologies, problems of color and line, the role of geometry, materials, formats, etcetera. Concentrating on itself, that is, on the analysis of the complexity of its own means and bringing into play its irreducible determinants, it wanted to be, above all, just that, painting. And in order to crystallize the rigorous logic that defines its procedure, it radically affirmed a two-dimensional and flat spatiality capable of confirming and affirming purely plastic surfaces that give rise to paintings that show, in strict terms, the difference in painting.

María José de Simón, whose work we are talking about, offers us a proposal that unfolds within the boundaries of painting and that includes at the same time, it should be noted, the expressive emotional tones of the artist herself. She does it through the use of deaf, melancholic colors, tinged with silence and little given to easy decorativism, in what we can consider a painting of omens that corresponds to the "emptiness of times" that we have had to live. The formal rigor of the proposal, forged with planes that recall certain suggestions coming from constructive abstractionism, thus includes the interiority in action, the being with herself of María José de Simón. Let us think of the co-existence of painting as such with the enigma of the world ("El grito de la tierra") and with the existential enigma of those who remain in "darkness". What remains is to let oneself be possessed by such an offering, to see, to look, to meditate, to see again.

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