Spotlight: Virginia Patrone, Artist

March 16, 2015

image via www.http://www.revistabla.com

 

I have been drawing, mostly doodles, for as long as I could hold a pencil.  I know everyone says that, but it's true!  For a lengthy part of my childhood, I aspired to be a fashion designer.  I was going to dress the Olsen Twins!  I had notebooks of outfits dedicated exclusively to Mary Kate and Ashley.  So, if the costume designer of So Little Time still wants to know what they would have looked like in season 2, just hit me up.  Anyway… 

 

At some point around this time, I discovered painting and suddenly art seemed limitless.  First, it made my crooked lines seem straight, but also it was the original Photoshop.  Over the years, I have been fortunate enough to study art all over the world.  Studying under Virginia Patrone in her Barcelona Gallery is one of my greatest treasures.  

 

Virginia is a Uruguayan native who now resides in Barcelona.  She was born and raised in Montevideo and goes home to visit often, speaking fondly of the sunsets and the warm ocean air.  She loves hot tea and acting with her grandchildren.  

 

Virginia is vibrant, which reflects in her work.  But she does take art very seriously.  She has taught me patience and sincerity.  And a lot of graphing, but I think that's the architect in her.  Her latest exhibition will be at the Museo Nacional de Artes Visuales de Montevideo.  I had the pleasure of speaking with her about her upcoming exhibition.  

 

The exhbition is called Iris, the Healing of a Ghost.  

 

In the morning of 13th December 1935, a young student killed her father, she shot him four times with a revolver.

  Iris: “I did it, I've hurt him”

  “What has Iris tried to bring to the light with her act and her delirium?”

(Extraviada, by Raquel Capurro and Diego Nin)

 

The exhibition summons Iris’ ghost in order to help her understand; its aim is the healing of a ghost.  This ghost is a “promising monster,” a survival, the projection of a past deed that refuses to die despite having failed in its time, despite having been denied in its historical moment. Insanity inside the family group, the delirium behind close doors that shapes entire lives, is a subject for contemporary psychology studies. The boundaries of reality are constantly tested here. And in this case we are specifically talking about feminine delirium, women as victims and as victimizers, domestic violence, the cloister, the power of the spider on its web.

 

My work methodology is based in crossing different forms of expression, theatricalize, writing, then painting. My long journey with Iris begins in 1997,  in the theatre play with Mariana Percovich and then in the first paintings including the depiction of my own designs for wardrobe and scenery. The shared interest with the Lacanian psychoanalysts and their new thoughts on the subject triggered in addition to my invitation to participate in the development of the exhibition gave birth to Movida X, where I gathered psychoanalysts from different countries in Montevideo in November 2013. My intention is to show the paintings as a valid result of the process and make explicit and suggestive forms of interaction of languages.  I also intend to show the outcome of the intervention in the art work.

 

The exhibition installation includes several large format paintings on canvas and a sub-series of medium and large format works on paper that include texts, conforming a pseudo comic or graphic novel on Iris’ deeds. There will be also part of the exhibition a video made in collaboration with Rodrigo Spagnuolo (ANTÍDOTO FILMS).  The catalog will feature an introduction of my artwork by Enrique Aguerre, a critical analysis by Jeremy Roe, texts by me and a selection of studies on Iris' case by Raquel Capurro and other outstanding Lacanian psychoanalysts.

 

The exhibition opens in September, but I will travel to Montevideo this spring and stay for several months.  The past few years have been difficult, but I am doing well. 

-as told by Virginia Patrone

 

 

 

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