El paisajismo de Agueda lozano de Luis Ignacio Sainz

The problem with the argument in Águeda Lozano’s discourse, if it exists, remains unsolved. Her enigmas are the equivalent of any other kind of expression of the abstract art: they stay as testimonies of a pledged sensibility that wants be known, unfolded as a communicative pretension, yearning and asking for a dialogue with the onlooker. Assertions always hover around the canvas and volumes, but they are not found neither materially nor conceptually stuck on the surfaces; they wander around them with no precise identity through the space of so uncertain territories. Gaston Diehl captures and perfectly understands when he qualifies this peculiar way of making aesthetic realities as “dramatic questioning” and “radiant purification”. He points out with reason: “Progressivement, elle tend à se débarrasser des adjonctions un peu spectaculaires de matière ou de pâte, afin d’accéder à une plus rayonnante épuration, ce qui contribute à accentuer le caractère de dramatique interrogation posée par son œuvre”.

Iconography in a constant movement, combined with undulations, rippings, scars, circular movements, folds, creases, concave and convex desires, forces that lead to the peripheries of the surfaces that contain them, which are always squares dedicated, perhaps to confine their secrets and enigmas more in the form of questions than convincing statements. The artist goes in contact with us through her expression, and with this she shares with us and suggests to us symbols and signs, forms, textures and colors but uncommitted. The work lacks a true intentionality, but on the contrary, it is compounded of a plural offer of intuitions, emotions, and uneven ideas, transferred to the exact possibilities of the dialogue and invention that it provides.

The preciosity of her technique and the rationalizing accent of her composition may confuse us and submerge us in the uncertainty of her pieces being originated in a preconceived design. In her case, the perfection of the finished and the harmony reached avoid the stiffness of the model involving it with the operation of a singular domain: the creation in freedom that, without thinking and feeling, the evident motives become known. The narrative structure is opened and it does not refer to any particular proposal. It is transformed when it is unfolded in the canvas; its shyness allows the onlooker who observes the work to suggest a reading and, in addition, a judgment. It is an appropriate discourse that empowers the observer to find, to impose or assume analogies with real and figurative objects. It faces the challenge of the world captured with the same tenacity that the armies of Bernardo de Claraval elude the fatuous reasons of combat and war: “…passion of uncontrollable angers, the eagerness of vainglory or the greed to conquer others territories”. His weapons are others: serenity, his work emerges from an active conscience in harmony with the interlocutor and context; humility, the disposition that leads and guides the creative process, lies on the dedication and rhythm that the workshop imposes with its proofs and attempts, its corrections and adjustments; and conviction, the consistency shown in the solution of each constructive and predicative challenge from its own canon, avoiding the style contaminations, fighting the use of formulas and taking advantage of the experiences that the history of art offers.

The artistic temperament of Águeda Lozano sends an essential geometry where the steady square and the moving curve stand out. The tension established between such constants of her production, invites us to repair the space and its forms. Thus, the enriching relation that we could associate with moods and conceptual intentions affirm, support and dissolve the permanent and mutable. Roberto Guevara has written: “To mature, to confront, to learn to say and not to say, meant the encounter with the constructive proposals, from which probably a more tense and rigid new sense of reordering is originated, with the use of complete geometric planes, and a space that is also different, meditative, if you want estrange, because it resembles loneliness, exile and the dramatic impulse of the man to transcend his limits: a dialectics of the space that turns into a dialectics of the forms, its relations and tensions”. Mutation and metamorphosis, an invariable sign in the execution, seen even from the conceptual projection. Constant rotation of the visual alphabet that denotes its re-reading, its re-composition. The same symbols and gestures but in diverse location in two dimensions of the canvas and in the depth of the sculpture.