Page 6 - Watercolor
P. 6

REMEMBERING



                                                                            TURNER






















                                                           often looks for logic in his formal representations, most
                         A painter of all to re-confirm certain functionality, both in terms

                         of pure fruition and meditated contemplation. This is undoubtedly, the case of Ligia
                         Podorean-Ekström.


                         Whichever pictorial genre she decides to face - landscapes, portraits or others-her work
                         is always distinguished by a profound, conscious sentiment towards nature, and a con-

                         stant search for a silent, crepuscular light, both in the tonalities and in the delicately
                         hidden ethical intents. A light that is capable of fusing forms with the oniric, predomi-
                         nant atmosphere typical of her paintings and watercolors. In short, whichever genre or

                         theme she faces and depicts becomes a “lieu de la peinture”.
                         It is precisely in this sense that Ligia manages to unveil modern man’s approach towards
                         natural reality, almost in the same way that Turner did during his own time.
                         Everything seems to burgeon from a priori intuition of a universal, “cosmic” space - a
                         space that immediately becomes tangible, offering itself to our perception through par-

                         ticular “motifs”.


                         In Ligia’s paintings the space is not immutable in its structure. The artist doesn’t really

                         wish to distinguish clearly - with her expert, intense and vibrant paint-strokes - the var-
                         ious color patches that correspond to things.
                         Instead we face a research that overcomes the concept of the relation between elements.
                         It is a research that doesn’t just simply register the mere, simple “state of things”, ele-
                         ments that in their whole - and for a certain type of painting - form the space, conse-

                         quently transforming a sensation into a pure notion.


                         The space actually emerges as an infinite extension. It is a space that is gradually ani-

                         mated by tensions of forces, where elements seem to be absorbed by the movement of
                         light, by the molecular shifting of air, finally to be consumed, corroded, destroyed and
                         consequently re-created, another time, within the rhythm of universal motion.



            6     LIGIA PODOREAN-EKSTRÖM      WATERCOLOR
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