By: Cándido Gerón
Fusing
into creation is to comprehend the drama of its mysteries. The artist
will make sure that his work places that destiny. The artist has no
other alternative but to recognize himself in it, because the spirits
will always be on his side.
Burt
The artist and this art fight within themselves. That is, they compete
to exceed each other, just like the intellectual subtlety that
desperately creates the strange form of word, with enviable reputation.
Impacting technique. Her paintings produce in the spectator a catharsis
of dreams and conquests. Her energy is accused by a surprising power of
chromatic synthesis. From the point of view of her architecture, her
plastic art exhibits, in its whole, a metamorphosis that is consequent
with her communicative emotion. The visions of the artist seem to surge
from an oneiric world when they transmute the images of their characters
which stretch and reconcile in their loves. Parting from these
premises, these characters have movement and composition because there
is no doubt that Natalia Conde has great dominance over pictorial
solutions.
Her
biggest interests are the sublimations, the suppositions, the
appearances, to spontaneously ex plore in the mystical, similarly, in
the origins of humanity, and clearly without falling into prosiness or
trivialness. In fact, Natalia Conde is a paintor, with extensive sight,
who is not satisfied with the concealed forms of art. Instead, she goes
beyond her visions until she establishes a scheme of innovations and
discoveries.
These
visions, nevertheless, are affirmed in the academic and in a corollary
of subjugative ideas, until they establish a fan of inmutable
reflections. Few Dominican artists posses the academic and intellectual
knowledge of Natalia Conde. To talk about the enveloping chromatism of
her paintings is to perform a mechanical exercise since she already has
us accustomed to the seductive light of her paintings. Words cannot
express the pleasure that they produce for us, her images, rich in
resources and life experiences.
In
her paintings, to say it with the words of Carlos Baudelaire: .. “the
game at the same time is a violent and contained passion". It is easy to
advise the brilliance, joy, and sadness of her models, the inferiority
and superiority of some, the tragic sentiment, anodyne, the mixture of
rejoice and intemperance. As we have previously affirmed, the axiomatic
and primitive, the identity problem and the mystical preoccupation that
is the curtain of the scandals and silences that cause languor in the
majority of her characters are in them.
These
characters, evidently, reproduce the most faithful mirror of life.
Because of this, when studying the art of Natalia Conde, we must be very
careful with interpretations, for the case may be that we accept them
erroneously. We cannot deny that these characters are violent like the
mystical strokes and impulses of the artist and that certain images can
lead us to the joys and desperations she reflects. Our major interest in
her art is its artistic value, the double nature that stirs up the
frontier of the marvelous.
Once
more, I will make notice of the dominant personality of Natalia Conde,
an artist with many pictorial claws. Curiously, on the other hand, she
participates in her paintings as a spectator, inclining herself in a
tenebrous manner-as Baudelaire would say-in the ovens of metaphysics. In
this manner she approximates to her childhood, and nevertheless,
without any effort at all, she paints very rich and spiritual.
