Juan Carlos Palenzuela

Although Luisa Richter exhibits regularly since 1959 in galleries and museums of Caracas, many of her works can be seen in her workshop, especially those dating from the seventies. Not that her work lacks circulation among collectors, but, rather, her creative process is very intense. Not to make a statement, but on a daily basis, exclusively, Luisa Richter is devoted to the craft of artistic creation.

Hence, when considering a new exhibition of the artist, there must be taken into account both her latest creation, from 1997-1998, as works of previous years, particularly from the seventies and eighties, as a selection.

Seeing again Luisa Richter paintings implies experiencing the certainty of approaching a plastic language. Hers is not known for facilitating popular access codes. Hers remains between planes and reflections, between crosses and connections, between moments and components, between emptiness and fullness, between memory and metaphor, between the canvas and the paper, anyway, on the stages of visibility.

Richter, in her paintings, works textures, transparencies and planes of spatial geometry. The subject of her painting is the space and its escape. Geometry in the space without a center or time, in which, sometimes, happen brief figurative data in the middle of planes, reflections and the continuing constructive sense. Escape through the deepness of space or the layout of the lines. Escape through the use of the checkerboard and visual changes it generates. But this has been transient in her work while the space endures and is the centerpiece of her doing. The escape then is invested in the idea of transience. Parallel to her paintings we have her works on paper, those collages based on old engravings, drawing, writing and painting, where the artist shows the multiple value of the signs, a whole potential of lines-of paper, of paintbrush, of ink- that test a grammar of the space.

The diagonals are very important and alternative visual transitions to straight lines, to the lintels, to the frame that appears and reappears. Master Ivan Petrovszky has told me about her line that they "are of character, always straight, never swaying and usually of great sobriety." Lines in connection and contrasted as Delacroix advised

At one time critics spoke of expressionism when referring to Richter's painting, just as her palette was of broad color registration. Then, in the eighties, blue accents predominated in her painting. They were enclosed spaces, in perspectives, in rhombus reflecting obliquity and vice versa, with unfinished or open circles and squares, with a color after color, with thick lines that structure the fragments of what has been built, with a richness of color that gradually, moved the textures, the dynamics of the matter and the aggressiveness of the image.

Then would come a change not only of color, but also of the resource of the line, many times thick and in the foreground, as re-founding what happened in the work. Tones of gray and white spaces to sign the melancholy of the artist, of what constitutes a vision in permanence.

When we see her oil painting "Land Court" from 1959, we find several signs of all her doing: the light coming from the bottom of the work, strong brush lines that frame the space, a color between gray, blue and black and even her byline in print. The affinity with "Contours" of 1974 is amazing. The links to the "House of Oblivion", 1984, reveal the consistency of visual thinking. The wording with "Tacarigua" of 1988, restrained in its formulation, is proper of a vision that stands in the middle of its renewal. I have heard Petrovszky saying this phrase that defines Richter’s painting:” It has the colors of chamber music since with few instruments she reaches the tonal purity."

Roberto Guevara referred, in 1980, to Richter's canvases as the "verification place”, that of individual truth, that of the image as an experience of reality. Guevara also noted the "double scope of times" that this work implies, so that we also understand the dual space of vision between the inner condition of the being and the eternal data of the circumstances.

Luisa Richter elaborates this double scope from the white color, shades of white that can reach the gray or atmospheric blues and cross through remnants of ocher. Whites of thick, strong strokes, whites that pass from one plane to another one. Line and color in a process of expansion or concentration, of moments and perimeters. "White Spaces" was the title of a series of her oil paintings shown in Venice in 1978. White, Cirlot says, "is somehow, more than a color" and following attributes it the value of symbolizing wholeness and synthesis of the different." White, then, as a single element that is, at the same time, atmosphere, matter, line, gesture and sign. White is the reaffirmation of the sensitive image.

All of the above to return to the main point by which the work is matter and form. In Richter’s case, her expressive forms not only traditional squares and rectangles but even small ovals, large rectangles and l very large or reduced formats. Moreover, she not only integrates canvas and paper, but also takes for herself, fragments of her works-that for some reason she was not interested in its entirety- to reintegrate them into new creations. Her sense of Collage, in conclusion, not only occurs in her works on paper but also in her paintings.

The matter remains conditioned by the cumulative, although since the process prevails based on white and gray, her space, her sign, her spelling, it is done behind the light, it happens behind her architecture. "Between the light and things” -she would say herself. Light in her case, as Maria Elena Ramos warned in 1988, behaves "as a maker of fluid, of the unfinished."

Throughout the years, Richter's work is characterized by a synthesis of language, by a persistence of the existential question, by an insistence on the visual that is based on transmutation. Her work is the result of internalization and her call occurs on the enigma that could reflect (us).

"Painting, the artist says, brings a new surprise every moment"

Caracas, Venezuela
March, 1999

Ricardo Pau-Llosa

Luisa Richter's paintings, more than any other relevant artist of the last four decades, have categorically denied the plaintive ditty proclaiming the death of painting. This is confirmed not only by the textural proximity of her canvases, the touching and controlled amplitude of the gesture, or the intelligence of her color strategies. The fact that Richter is part of a handful of living artists that really think when painting and dramatizing the conditions through which the aesthetic thought comes to life also confirms it. Richter is a glory of European art, particularly in her native Germany, as she is for the South American art, where she is a revered figure, especially in Venezuela, her second homeland.

In her concrete and glass house of severe Le Corbusier style, built on top of a mountain covered with lush vegetation, on the outskirts of Caracas she has implemented some of the most striking paintings of her generation. What makes them great is her ability to capture the action of abstraction of the pictorial imagination and understand the fundamentals of spatial thinking, at the same time clarifying the process by which these creative feats are accomplished. In simpler terms, Richter's paintings bring together the domains of intuitive and analytical thought, and serve as introspective windows (as opposed to the closely self-referential) from which you can see this simultaneity, the poetics of painting. What in other artists is a register number of the action and passion, or delight in the art and color, in Richter it becomes an almost metaphysical act of making tangible the idea that, paradoxically, cannot be contained in the image, even when at the same time, it is inseparable from it.

It is as if each painting raised an ineffable question, as if that question, more than the answer, was always the main objective of the work. What permutations of a circle signifying the infinite can continue even after they cease being a circle? Can a circle or a sphere be represented, and therefore realize a presence on the mental level, through any portion, an arc or some echo of roundness?
How does it alter the archetypal shadow and fragmentation? What is the role of our frustrations on the fragility or intractability of the matter in the delight we find in the light? How does refraction or dispersion, or both, exalt the idea of form, which constitutes a threat to their direct visibility?

It is not a hidden question Richter disturbing each Richter’s painting, but that each painting requires the viewer to plot this kind of questions. In turn, these questions make us go back to the painting to enjoy its lyrical labyrinths of light, gesture and form. In essence, Richter's paintings are on the temporality of creation as an act in which the foundations of perception come together in new coincidences and sequences, new parameters.

These sensual whirlpools of thought and matter propose a new understanding of time. While earlier artists distilled abstract textured and non-referential images of "reality," Richter asked if you are not conducting a simultaneous journey of thought, if the painting as an image and the form as essence are not equally attracted to life, recognition and function. The temporality of the imagination has to do precisely with a double gravity. Richter absorbed sensitivity for the geometric of modernism inspired by constructivism and its successive heirs, especially in Venezuela, whose kinetic artists would dominate the postwar scene. She also endorsed a variety of informal and abstract tendencies that were more dominant in Europe and North America during that same time.

Its bright tropical environment also pushed her imagination to the number of physical freedoms that would have been difficult to use in other media.

The mark of a great artist, such as Richter, is the ability to transform what once exercised its influence over her in such a way that due to her work we cannot re-think these sources in the same way. She has taken the geometric form, gestural abstraction, color and light to the level and images and premises of thought. The eye moves from pebbly surfaces to insinuation of pigments, as if each painting- an uncontainable landscape as well as a luminous architecture- would try to become as complex and immediate, compartmentalized and simple as the world itself.

Thanks to Luisa Richter, no one needs to apologize for the relentless fertility of the painting

Miami-USA, June 2002

Eduardo Planchart Licea
 

The aesthetics of Luisa Richter mutates the landscape in spiritual geometry; the sense of her creative action is the path to a conception of happiness that goes beyond the hedonism since it explores the history of spirituality and is guided by the constant reflection on the essence of reality that leads it to abstraction. She defines painting as an action: Happiness comes over me when I paint on a white canvas. For Luisa art is also intimately linked to love as Ovid stated in his Art of Love:

"Art drives with sails and the oar the light ship, art guides the fast cars, and love must be governed by art"
Ovid, Art of Loving. Gredos Classical Library, Spain, p. 27

The vision of art that unfolds in her work answers to a creative symbolism that nurtures on the roots of Western civilization as the mythological complexes around Gilgamesh, Orpheus, Dionysus, Apollo, romanticism and history of philosophy. Senses that his abstraction manages to convey in paintings like "The Cathedral", 1977-1984 and "The Power of Visibility" 1990. This visual language is in turn closely linked to its historical and existential context.

In 1955, coming from Germany, the young designer arrives by boat to the port of La Guaira, where her husband should have been waiting for her, who, arriving late, was about to lose her, because of this event, Luisa wanted to return. Venezuela was ruled by the strict military dictatorship of Marcos Pérez Jiménez in 1953, a regime that lasted until January 23, 1958, when the dictator fled the country after a general strike.

Fortunately for her husband and the visual arts of the country (she was a young woman known in Germany and had already received her first award), the engineer Hans Joachim Richter arrived before the ship with his wife left, because they had gotten married that the same year.

After the happy reunion Luisa reveals, in her first impressions upon arrival in Venezuela, how the Caribbean light stripped the cuts of land of the newly built highway Caracas - La Guaira to turn them into a dazzling range of colors: inspired by this situation arises her works "Cuts of Land", which impacted and influenced the Venezuelan art, works that take her in 1966 to the Guggenheim Museum in New York in the exhibition "Emergent Decade."

She arrives in Caracas to the new neighborhood of Los Palos Grandes, she came from having lived through the insanity of the II World War, but she was able to study art in the postwar period. These vicissitudes made her grow between the intense atmosphere of internal reflections that sparked the habit of reflecting on herself, an aspect that is manifested in her abstract paintings and collages, as we are before an introspective aesthetic. As we read in the Biographical Dictionary of Visual Arts in Venezuela, in her training, the most important period was the one she spent between 1948 and 1955, with her teacher Willi Baumeister, one of the proponents of abstract art in Europe at the National Academy of Art in Stuttgart, Germany. (Biographical Dictionary of Visual Arts in Venezuela, Volume No. II, National Art Gallery, 2005, p. 1127).

If something could define the meaning of these works is that they strengthen the drives of existence, this vocation accompanied her from a young age, hence her teacher Willi Baumeister, when Luisa was studying art in Stuttgart, led her to participate in the lessons of existential philosophy of Max Bense that emphasized her dedication to art as love for reflection, he sensed the motivations that moved her. Her first school after World War II was the Waldorf School, founded by Rudolf Steiner, creator of anthroposophy. This view of pedagogy and his vision of the world were inspired by Johann Wolfgang Goethe, considering thinking as a recipient of ideas. For Steiner could be anthroposophists those who feel certain issues about the essence of man and the world as a necessity.

First of all, to Luisa Richter art takes the viewer to encounter with the essence of reality, of what remains beyond change. What the mystics and Hindu philosophers would call escaping the Maya illusion to get into the soul of the universe, a position that contrasts with the pre-Socratic philosopher Heraclitus, who said that the only thing that remains unchanged is change. The abstraction that the artist matures goes like a pendulum between these two positions, and this is reflected in the sensation of dynamic stillness that characterizes her abstraction. For her creation is to go beyond this constant evolution, to understand our being and the essence of what surrounds us, and based on these principles, she develops the existential nature of her plastic aesthetic.

By focusing on vital aspects of her compositions, as would be the tonalities in her paintings, which are manifested in the use of whites and grays, the colors and mixture of colors and the resulting atmospheres. This is one of the keys to get into her paintings and collages, as the artist researched, in museums worldwide, the works of masters like Leonardo Da Vinci, Goya, Ucello and El Greco among others, delving into the tonalities that characterized them and the intentionality in their composition. Thus, she create her own tones that are an indelible mark on every stage of her artistic language, where drawing occupies a central place and her line is characterized by her unpredictability, the game of thicknesses creators of drawings where the vacuum is present, in a constant tension between figuration and abstraction, as a deduction from the nature that sometimes comes close to the spirit of the Chinese ideograms.

To approach the concept of beauty of the artist who came from Besigheim, a small medieval town near Stuttgart, Germany, at age 27, one must have as a reference point the space where her life takes place, it is important the architecture of her home, as this accentuates the incandescent light in the tropics because of the height of the walls and large white plains, where space is trapped by the geometry and the walls are almost transparent due to the windows, that as tunnels of light, lead into the interior space an intricate vision of tropical foliage that becomes almost tactile to sight, as it can be appreciated in "The Instant Held in an Eco, 1987.

And among the possible paths to get into the intentionality of her work, one can find the creative trace and her thoughts in a series entitled "Texts", where she expresses philosophical meditations that reveal her aesthetic conception, in the Text, 1989, an old architectural plane of what could be her home, she expresses thoughts on these relationships. In this grid sheet with lines and rigid angles characteristic of architectural structures, the artist breaks through the hardness of red lines that sketch a character, surrounded by calligraphies that transform the sense of the architectural plane into a sensible one, where the words reveal clues on the tonalities present in many of her works:

"High walls in the house, and sometimes the light is bright white; forming a frame for me and my paintings. Located on a hill above the city, when the sun heats ardently. Colors are absorbed and there can be perceived a scale of dazzling whites. Mountain ridges are like clouds, the clouds are transformed into mountains and enters the house as a reflection in the mirror ... "

The luminous tonalities of paintings such as "In the Continuity", 1970-1976, express the effect of light on the physical reality that, at times, make clouds merge with the hills. The pictorial layers of her paintings symbolize the union of opposites and take the audience into spaces within the plane. Just as Mark Rothko, who through his paintings of the same color tones and gradations, manifests the echoes of the spirit, Luisa Richter reflects vibrations of the Caribbean that seduce her and are a joy in her life.

Pictorial depth converts each painting into multiple spaces and times; hence the tension becomes heartfelt and thoughtful in every stroke as it seeks to convey to the other one an inner dialogue that guides the action of creating.

And similarly, as in the rainforest one can see several layers of greens, in her paintings one can establish tonalities between abstract facts that express a dialectical tension between culture and nature.

This glow between tropics has caught the plastic language of several masters of Venezuelan art, as happened with Armando Reveron, where the light of the Caribbean upset his notion of landscape reflecting in his paintings this feeling that converts solar glare, reflecting in the sea in a personal mythology.

The titles of the paintings, drawings and collages of Luisa are puzzles and synchronicities that reveal the experiential context surrounding the creative process, as she takes very seriously the meaning of the word, and these may be key to approach the meaning of her works. Both in painting as in collages is also present a restructuring of reality, of making sensitive its complexity, and the endless interconnections that exist between each event in our lives, that has been assumed in physics and philosophy as the butterfly effect, a phrase inspired by classical reflections on how the flapping of a butterfly can affect the universe. The cinema has captured this sequence of effects through stories or spaces interconnected times that generate the actions of the plot which has been expressed from a visual and poetic perspective in films like "Babel," directed by Alejandro González Iñárritu, and a script by Guillermo Arriaga.

The 60's, and especially in 1968 was another important historical period for Luisa Richter. They are the years where utopia emerges of the hippie movement, with its mythic return to the Eden through the free love, the non violence, rediscovering the sacredness of nudity, and the expansion of Western spirituality that nurtured on Hinduism and Buddhism; a period where there was also a shift to initiation social rites, as revealed in the rock music festival in Woodstock, which took place in a farm in Bethel, New York, on August 15, 16 and 17 of 1969, and it was a cultural manifestation that expressed a revival of the Dionysian impulses in Western civilization to become myths of modernity.

In that decade, for a few years, airs of liberation and transformation were breathed. Raúl Leoni governs since 1964 in Venezuela, who will have to face an armed insurrection against his administration, the same one that later would demobilize Rafael Caldera by declaring a general amnesty. This is an election year for Venezuelans and the presidential election is won by Rafael Caldera, the Social Christian Party COPEI, for a few votes; from that date, a phrase from his opponent, the Democratic Action party, Gonzalo Barrios, is famous: "I prefer a dubious defeat to a dubious win.” And there is instituted in Caracas a unique experience in our cultural history, Neuman Design Institute, Luisa Richter is incorporated in the institute in 1969 working until 1987 as professor of analytical drawing and composition, an educational experience that had much to do with the delivery to the artist of the National Arts Award and the Award for Education in Caracas in 1981 and 1982, already, in 1967, she had received the National Prize for Drawing and Engraving, obtained at the XXVIII Official Hall.

Since 1963 the artist creates collages, which are increasingly taking relevance in her work, hence the importance of its definition: When I studied in the postwar period in 1946 I went to the Mertz Academy in Stuttgart, Germany, since all schools were closed due to the denazification process, our teacher saw that all had an enthusiasm for art and said, "Look at the floor, ground, land, soil next to the leaves of the autumn tree and now we rip our tram tickets and throw them onto the ground, what we see is a collage. That was the first notion I had of collage as a mixture of situations. And then in the seventies I had the idea of mixing works I had saved, gouaches, lithographs, serigraphs, and lines, and mixing casual encounters I gathered them, that is how collages were born, doing that filled me with happiness. I incorporated the photographs because they alone bored me, then got them into situations that occurred ... "

Luisa Richter, testimony, 2009

If anything is surprising in collages is its diversity of elements and technique, comprising lithographs, photographs, drawing cutouts and gouaches that are blended to create a visual discourse where multiplicity generates a dialectic that goes from chaos to order.

Plastics and symbolic elements within them are determined by the experiences of the creative moment by getting caught in kaleidoscopes of beauty.

A good example is the collage "Current History," 1985 circular format that attracts the significance of this geometry element as a totality, perfection and unity of opposites; inside compositional stripes convey visual depth to the plane. One of the visual centers is a petrified snail that transmits the idea of labyrinth; behind it is the face of Orpheus among sensitive geometric structures.

In symbolic terms, there are joined in the work, two mythological complexes of Greek classical tradition, the labyrinth of Minos, where there was the Minotaur, and the God of music, Orpheus, who with his harp was able to make rocks sing, which leads us to the musicality of the compositions of the artist, where the tonalities are melodic; this leads us to Luisa‘s passion, music, and the delight she felt when she played the piano. Two of his favorite composers are Beethoven and Mozart.

The artist associates this musicality around Orpheus, deity related to both Apollo and Dionysus, to rationality and irrationality, what Nietzsche would call "The Origin of Tragedy" springtime instincts. This piece affirms the unity of the visual arts to music, because they both generate an internal dialogue in whom confronts them; and this is one of the immediate sensory impacts of the music, the symbolism of this ancient deity is linked to the excitement generated by music.

In these collages there are geometric structures that represent the land and guide us through the myth, since Orpheus descended to the Homeric Hades trying to snatch from his destiny, among shadows that are dissolving into the nothingness, his beloved Eurydice, but fails to rescue her from the Hades and becomes a soul trapped into oblivion.

Each collage offers multiple readings that provide great aesthetic wealth and conceptual to the series, to confront the viewer the joy felt by the artist when recovering these pieces of experiences and stealing them from becoming. In this personal language, each one of them is the result of thoughts, sensations, feelings and synchronicities where there are elements that are almost a constant in different contexts as, to name one, the antique chairs, and that has its origin when she made lithographs.

One of those days Erich Münch asked her to wash some lithographic stones, but she liked the chairs so much that, instead of erasing them, she printed a series of lithographs that in the present time, this is reflected in her collages, as an own element.

Among the works with which she represented Venezuela at the Venice Biennial of 1978, she presented the series "Pages from my Diary," formed of sixty small-format collages, also were presented twelve large-format oil paintings entitled "Flat Space ", "Texts "about art and space planes.
Luisa Richter does not give much importance to the elements that make up her collages as she sees them as a unit; and from them, stand out ones where photography occupies in the composition a dominant place; they are black and white images, broken or complete, which near us to the cosmic empathy that moves her work; in several of them are female nudes in a garden or mounted on trees, and the positions that they assume have an intentionality that transcends the erotic, as shown in the photo collage in which a young naked woman hugs a tree, standing out her hands, an image that in turn is surrounded by other hands playing a string instrument in unimaginable positions, conveying a sense of how the hands, in union with the organism, are one way of humanizing reality.

That highlights how through our physicality and spirituality, humanity is able to create sublime dimensions such as music and visual arts.
In these collages with photographs stands out one in which there is a girl tied to a hose, giving a double meaning, the myths created by the Greeks where the Mother Goddess and the Gnostic cults of the Ophites, snake worshipers, who also idolized the snakes, and that in the contemporaneousness said image can be associated to the need for liberation of women, due to the oppressive tie caused by the hose. 

"In the beginning Eurynome, the goddess of all things, rose naked from chaos, but found nothing solid to support the feet and therefore divided the sea from the sky and danced solitary on the waves. Danced to the south and the wind set in motion behind her seemed something new and apart with which to begin a work of creation. She turned around and took the wind from the north from which emerged the great serpent Ophion. Eurynome danced to warm herself, more and more excitedly, until Ophion felt lustful, coiled around the divine members and went away with the Goddess." 

Robert Graves. The Greek Myths, Volume 1, Alianza Editorial, Spain, 1992, p.29

The photographs of the collages evoke an intention, and one of them a female body moves freely in the branches of a tree, between a background intervened with lithographs and pictorially creator of a heavenly vision, a spirit which is also reflected in her abstract paintings. In this way the artist creates, including paintings and collages, a universe of beauty full of meanings and experiences that she transmits through her art to the viewer.

"Painting was and still is, a scaffold made by myself, in which I could always hold myself and where I can still sway" Luisa Richter, Occurrences in my Journal.

September 2009

Marco Rodríguez del Camino

We say that the colors are warm and cold, moody, and we have always taken this as an invitation so through them one can express emotion, the blindness and dumbness in us. And then they become in perceptions that can be seen, the body takes as its own expression. The body becomes light; they are as gradations of awareness of interiority. Within the visual arts and in themselves, moreover, the colors represent the most purely art.

And this stunning or abstract effect, which in principle produces non figurative evidences, causes the planes of the painting. In general, outside of the scope, the line comes into play containing colors, or demarcating places, planes and shapes. At the viewer's eyes, planes and colors, lines and contours are presented with the same spontaneity of the rain or sprouting grass: they simply stick out from the invisible, the how to do this is the work of the artist.

However, what he calls our attention in the work of Luisa Richter is not the forms that she gives the magma of these eruptions; it is the way it delays, opens and shows us the steps of a reflection on each piece.

It is worth remembering that Luisa started painting cuts and landslides in Venezuela, colors and underground lighting (levels of seen in the darkness, we are saying: paintings, expressions). Starting by showing cuts of the land is like to exploit the mine of the plastic arts: it gives us glimpses of the transit of what one can see to what is not seen.

And since those cuts up to her latest work, it raises the earth as a mirror of what (we) happens, and the space between you and the earth (including blindness and glare) as an incubation within from which the work flows. Transfers between these extremes are of the distracted viewer by way of confronting that which embarrasses him. Asserted in the correspondence that he establishes, the artist plastically points the constant path of creation. The road we have traveled together with all that exists, and in which, by following the map of each of her works, we discover similarities with traces of herbs and the stars.

With colors, lines and cuts that she constructs parts that burrow common roots and awaken the consciousness of those communicating vessels, from which the universe is woven. But it’s good to insist on the simplicity of something so complex, because the artist does not refer to absolute but the threads that weave the individual things, not to significances, but to specific steps, clear and timeless. To plastic connections, those that leap to view, they are always the end pursued further. Showings of a clarity that is not satisfied.

Incidentally, besides marking the other end of blindness, dazzling indicates the direction of travel: going towards positive sign blindness only recoverable in the light. For just as when one leaves the hometown returning calls to go around the world, having completed a cycle, we cannot recover blindness but after having seen everything, having covered the whole sphere of reason and light: of distance. Such as described by fairy tales, in the adventure of living, going back equal to regression: while reaching the forest of the birds of light and staying there; on the other hand, forgetting the homeland that awaits for us, of its lack of golden feathers, it would equally be meaningless. That is to say that passion is the momentum of freedom (the possibility, says Luisa) the goal.

Pallet to pallet, bit by bit, there were hauled to the work that we today see, the earth, the gold and the coal, and it was joined on the journey by the own and another wrecks ,as every viewer realizes. Delving into that same mine of living, opening to the eyes t the place of life, displaying it in colors of light is the extraordinary work that is shown to us today. Evidently made with hands: drawings, collages, prints and paintings that in turn work artistically as rooms, grades, levels of understanding.

It is said, by the way, that singing is the first vocal response of the human creature to its environment, and that starts every time alone or in groups, one is absorbed in a manual job. This principle is not beautiful or ugly, it does not refer to either joy or sadness, as there are songs of appreciation and complaint, is a simple fact of humanity. It is obvious that in both primary expressions, that singing can be understood as the voice of all the arts in general. It is what comes from the chest, leaving us, as it contacts with the outside. From what arts return us for understanding. In works that must be transparent, however, because singing gives way and disappears with every tool that comes between the subject and his passion.

Perched on the edge of the white since long ago (of a thousand shades of white that occur in her paintings), in that end of the blindness, trampoline where the body and the passion is out of sight, Luisa paints oil paintings that sing the correspondences between science and poetry. A two-dimensional rhythm, -she says-, raises cold formal compositions, solid intersections, and shows what happens outside and inside, our consistency. As any valid work, it is a trap to catch deepness in the foreground, to put dance in space and time.

Caracas, Venezuela
February 21, 2001