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Pareidolia is a word of greek origin that makes reference to the appreciation of shapes and forms as recognizable objects, a very common perceptive illusion.

The specator is essential…always is, but in many current tendencies there´s a fine line between the artists action,the work itself and the final act once the piece is finished.

Many artists are not interested in what their work may provoke in the viewer.Not in this case.For Astrid to know what sensations, ideas or feelings her painting invoque is essential.

Pareidolia consists of fourteen pieces ,medium to large format,all acrylic on canvas. The titles constitute a bouquet  of abstract concepts : Impulse, Distinction, Link , Context…No doubt her work belongs to abstraction,the most elegant , optimist and colorful abstraction.

You can perceive in her work that “vibration from the soul”,without which, Kandinsky used to say , you cannot produce art.” And there it is , in every painting, a reflection of the most intimate Astrid ,stating another of the affirmations of the great teacher of abstraction: “the spirit of each artist reflects in the form. The form carries the seal of the personality”.

Astrid herself affirms that colors have an emotional meaning,and it is easily perceptible.

We find ourselves in front of a magnificent example of subjective abstraction …and

poetic. Because , as another poetic

abtsract artist affirms, Ai WeiWei, (…) “poetry serves to maintain our intelect in the previous state to rationality.It takes us to a pure state, making contact with our feelings”. And this is precisely what we have in Astrid´s paintings, pure feeling. But not the kind you experience in real life, but those feelings lived in the imaginary , in that place where reality and irreality merge.

The feeling of the artist is, and there´s no doubt about it , in works she affirms she creates in a complete ludic and spontaneous way, hoping to induce a personal, individual experience in each spectator, and letting they´re personal `bagage´and experiences guide the lecture of the work in front of them. She hopes each piece comunicates , talks to him or her without being guided, perceiving and discovering what is happening in each work, and better yet, what the work provokesin them.

There is no conceptual base to guide them, because she is not a friend of explanatory texts, and though her titles are of a calculated vagueness, they contribute willingly or not with significant pointers that will influence in this particular and intransferable immersion.

Conchi Álvarez


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