This is the text that I had the pleasure of writing for the exhibition "The voice of the silent (the object space), which Monica Dixon exposed to 13 April at the Center Art House lasted in Mieres.
Up or down? (2010). Acrylic on canvas. 150 x 150 cm. When you have noticed the profound value of Las Meninas or other masterpieces of the space represented -The washing of Tintoretto, the Board of the Philippines of Goya, one can impatient with the presence of the figures who occupy them. Characters and objects importune us, distract us from what we really like to see: the painted space itself, the vibration of light in the atmosphere, the essential loneliness of the stage. Velazquez and Tintoretto obviously not could engage in such contempt, but other artists after they have driven themselves to the royal family and their attendants, or Jesus and his apostles, or have been replaced by other (contingent) people-to enjoy at home the true actor these masterpieces. Goya, on the other hand, the threshold of modernity, made it very clear what he was interested in representing the largest of his paintings: no Fernando VII, remote its vanishing point, or all dispensable directors. I wanted to paint the volume of a large container of air flooded by light, as if the false vacuum outside the supreme manifestation of the painting itself.
In the context of their work, Monica Dixon has dared to take that step. As evidenced by this retrospective, intense maturation of his painting in the last decade not only builds on a growing mastery of technique but, above all in the way she has used to clear the entire pictorial space what has been perceived as anecdotal and contingent. This does not mean in any way that the human figures, footwear, clothing or household items he painted years ago with a devotion worthy of the everyday object at once realistic and still life pop art should be viewed as mere exercises or are now learning rejected in the name of some kind of progress simplistic conception of painting.
the contrary, look back on these pictures and relate them to firm Dixon now to reveal the deep coherence of this painting, his loyalty to the same poetic. If it does not paint those objects rotund, sensual, almost lovingly sobados the use and abuse took their boxes for six or seven years, and if the figures-absorbed loners and often in the same light, rarely inhabit now because the investigation into the essence of reality has shown, in the eyes of the author herself, those reasons you became less and less necessary to paint what he really seem interested, giving the impression that with singular obstinacy and best tools ever wanted to paint all along: the reality, understood as persistence. is, the melancholy of things stay in front of our eyes temporarily. And therefore, the loneliness of things and our own fleeting desolation. Although it has many features in common, and formal devotions Hopper, Warhol- with the work of the so-called English metaphysical, the metaphysics Monica Dixon played in his paintings is of a nature less self-conscious, ironic and full of appointments. Is, without more, the register an elemental awe at the beauty of a reality which, mysteriously, tend to survive. That is survive. And therefore we already somehow excluded.
What has changed over the years are the topics that Dixon traces the mystery and beauty. At first, shoes, clothes, furniture, interior architectural structures heaped almost entirely pictorial space with a flatly proclaiming the opposite of a vanitas Baroque. Things sang "here we are and here we will remain" two-fold: common objects and as objects and painted. Even uninhabited interior, which and opened a spacious decidedly painting, still full of furniture and sound textures that gave flesh to light. But the space has been gaining ground, the role of light that often erupts from the front, widening, filling the table, and the objects and skins of things have finally come out little by little the scene. Just like if it had come to the conclusion that it truly sustainable, the reality will prevail against our evanescence, not the individual things, or the particular configuration of space, but space itself and the light that reveals. Or rather, the space, painted in the form of a light that is defined in the minimum contact forms and the minimum necessary to modulate objects.
At some stages of the investigation, Dixon has also played an inevitable idea: the possibility that reality is a construction. There are inscribed in its original puzzles that deconstructs and reconstructs a single perspective or image that has previously decomposed into concentric sections. But despite the interest of these experiments, which may well be called shattered spaces taking the title of one of its parts, "in recent years dominated by two series in which the artist returned respectfully to construction excellence in painting -Western perspective, and focuses on a technique Classic to feature strongly as difficult to figure out: space, not as mere construction or vacuum, but as a presence. It does show in parallel with a touch of high purity, light-filled interiors (and backlit, shadowing, which tends to overflow the table, to accumulate in the viewer) and describing also the place from which the light: exterior. What's out? Essentially the same: more space, more air, more light, but overflowing into infinity. Tapeworms architectures displayed crushed under a luminous atmosphere, without taint of cloud in Nortemérica hopperianos rural landscapes seem to highlight what human constructions the precarious under the enduring majesty of space and sky.
And yet, neither those inside and those landscapes are areas completely alone. The lives, obviously, that we wanted to paint Goya in Board of the Philippines: the fullness, the reality of the painting itself. And also, incidentally, our gaze. Although only a passing glance absorbed.
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