Page 7 - Watercolor
P. 7

sTOCkhOLM ARChiTECTuRE
            1985 dRAWing And WATERCOLOR CM. 30 X 70 / in. 12 X 27½
































                          Ligia’s vision is more “emotional” than emotioned. It is so dynamic that, at a certain

                          point, it escapes the control of reason. Nevertheless, it is a vision capable of enraptur-
                          ing the human soul, projecting it toward other dimensions, extreme and vertiginous:
                          dimensions that we realize belong to our own most profound sentiments.
                          Hence in her paintings, human feeling does not confer meaning to the environment,
                          nature or reality. Neither do metaphors appear that speak of reaching the threshold of

                          the infinite, the transcendent, the “beyond”, a passing from one situation to another,
                          from darkness to light. Anything but.



                          It is the environment, rather the nature, and reality that arouse a vibrantly, passion-
                          ate reaction in the human soul. And it is this particular reality - a reality which is not
                          conceived as a reflection of something ineffable - that becomes the environment of life,
                          be it hostile or cordial, in which intermingles a constant active relation, similar to that
                          which connects the human being to society.



                          At this point, in Ligia Podorean-Ekström’s paintings, it is almost undeniable not to
                          notice the underlining of a sort of new-romantic approach that assumes “range and

                          diversification” as a fundamental aesthetic principle. Nevertheless, the interest that her
                          paintings arouse consists of communicating not only the way in which it carries out
                          the experience, but also the way in which it approaches reality. Whatever she depicts
                          becomes a source of feeling inducing one to think at the same time as well.



                          In other words, the artist “sees”, but is perfectly conscious that what she sees is just a
                          fragment of reality which invites her to reflect and go beyond such fragment. In fact,
                          no matter how infinite the extension of time and space is, her thought overcomes what

                          is “seen” and what is “visible”, joining the domains of dream, memory, imagination,
                          fantasy and intuition.
                                                                                             Andrea Pagnes | Art Critic


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