Room 45: Carlota Pereiro
January 30 - March 9, 2020
Around, Castellana 45, Madrid
"In the beginning," says Carlota Pereiro, "it is all about drawing." Therefore everything consists, as Paul Klee explained in his pedagogical notes at the Bauhaus, in that method of "taking the line for a walk, freely, without a goal." Works such as Rickshaw (2018), La Espera (2019) or those captured on paper, arise from a free flow of lines that, without premeditated themes or preconceived ideas, provoke in the artist's mind associations with human, animal or plant forms. Among such visions, it is in particular those related to people and birds the ones that emerge in the first place and eventually become a part of the work, similarly to Joan Miró: “I begin to paint and as I do, the image begins to assert itself or suggest itself under my brush. The shape reveals itself as the sign for a woman or for a bird as I go along ”.
The Galician artist belongs, therefore, to a pictorial tradition that possesses in the specific elements of her medium, as well as in the process of creation itself, her primary source of inspiration. This, together with a frenetic pace of work as well as an extraordinary inventive capacity, results in a prodigious ability to shape the unexpected, to even take advantage of it at her will, in a way of proceeding that Jean Dubuffet already had mentioned in his writings as the way natural for the painter to face his task.
Carlota Pereiro's recent work, resulting from this particular way of dealing with pictorial support, possesses qualities that place her on the visual horizon of De Kooning in the 1940s and 1950s, as well as German and New York Neo-Expressionism from the early 1980s: altered visions, figures and everyday situations that arise from taking advantage of the random path of the line and that are lost in the compositional maelstrom; vitality, strength and even gestural violence.
However, together with this connection with the aesthetics of Expressionism, the type of expressionism that exudes in Pereiro's work and that is breathed among the dozens of works that crowd her studio, is none other than that linked to a compulsive and obsessive need to create, to shape things. This is what Ángel González, an advocate of the importance of painting and drawing in contemporary art, was referring to when he wrote: “less an expressionism that consists of taking out what is inside in a vehement way, than an expressionism as a desire to express oneself ”.
Born in Santiago de Compostela in 1988, Carlota Pereiro studied at the University College of Dublin, at the Círculo de Bellas Artes in Madrid and at the European Institute of Design, where she obtained her Master's Degree in Textile and Surface Design with Distinction.
She has recently exhibited at the Sargadelos Gallery in La Coruña and has inaugurated the new Exhibition Hall at the Santiago Airport with her work.
As a designer, Carlota Pereiro works for the National Museum Thyssen-Bornemisza.
Photos by Raúl Bravo @raulbrm