In an almost purely abstract space, the eye tends to look for recognizable images, some intentionally placed, and others as an individual result of the spectator’s mere creation.

Constructions saturated of imprecise objects that range from smaller to larger sizes, although some turn out to be decipherable. Repetitive patterns, as circles that go from mayor to minor size, ladder’s that go up or down or simply rest in the horizon, fish, cubes stacked, and suddenly a bold red splash of red with much more freedom.

Abstractus by Astrid Sommer,  consists of 22 recent works ,in which the predominant theme is the vagueness of the abstract. Each canvas accentuates and integrates aspects of structure, of form and above all, everything related to chromatic, to conform a unit out of these three aspects. That is because, in each color and form, she suggests very clearly, sensations that, viewed collectively and without us realizing, all these pieces transmit us the stimulating effect of equilibrium, freshness and vitality.

It is exactly in this matter of the abstract, where the artist stops to ponder how each of her creations encourages the imagination of the spectator, without any encasing or having limitations commanded by an imposed title. That is why, she chooses to distinguish each piece according to it´s  predominant color, like Blue , Red or Green, or with a simple word that defines it as Good, Strong, Peaceful or Balanced. But the artist doesn´t choose to capture the simplicity in the title´s, but takes the determination of making them indecipherable when she names them in latin, it is not the same “Rubrum” than red or “Crocus” than intense yellow. So, in the manner of the philosopher Descartes, who tended to leave cryptograms in his writings

in the hope of being deciphered, the only thing that permeates, is the association of the phonetics of the word designated to each work. Everyone benefits, the moment most of Sommer’s title’s are unrecognizable, by having the opportunity to interpret, decipher and dream at will, without being guided by the meaning of an imposed title.

Adding and removing, sort of a trade in the painting  of Astrid Sommer, without at least using an underlying drawing. Her art comes from within, her instinct being the original guide. She appeals to the effect of vaporous veils, but not in the manner of the sfumato of Leonardo Da Vinci. Her technique consists of acrylic layers and may employ alla prima, in a direct manner. The application of the veils, one can see at first sight, or they may emerge when she scratches with a tool down to the bottom of the canvas. And so we are allowed to stay away from the forms of saturated paint exposed on the foreground, and are able to glimpse all the way into spaces made based on layers, leaving it’s mystery intact.

The touch of authenticity is provided by the variation of textures achieved by the process of additions and subtractions, that remind us of torn down walls, deconstructed by the passing of time, but full of color in a neighborhood kept in a memory, where humidity and climate   reveal the passing of time.

While the scenario occurs within the limits of the canvas, visually it lives beyond the edges, in an infinite way, even filling the frames. What remains displayed at the

end, is what was  within the artist anyway, the reliable exploration of her being.

Dra. Sara Aroeste