To make a brief discourse on the recent painting of Barbara Duran (…) some diptychs and triptychs (Bogarin) as other works, for example conceived horizontally, and in “shared” cadence, through which with symbolic accents, are all an enunciation of the lived experience (in riflessione), that is, the impression of the knowledge of “history”, which over time, has taken shape. The same happens with thought. Thus, while for the horizontal composition we can evoke the conception of the “predella”, a multiple image in terms of narrative. a multiple image in terms of narrative, it can, with the same parity, be evoked through the concept of sedimentation, which unitarily contains each evolution through the concept of sequence. Thus, without losing the reality of the visual impact, it creates the sense of “simultaneity”. They are works that, beyond the real meaning, can be considered existential “notes”. A concept that is not to be excluded from the “tutto”; for another, painting also lives on “sketches”; not rarely, a sketch is a condition of reciprocity between the author and his thought, and in each thought he reflects himself. Emerging from a situation already lived and on the other hand “desired”. So all together and in the apparent thematic diversity (apparently for those who observe from the outside, it is certainly not for those who conceive the image) those “fragments” constitute the sense of a complete “locuzione”, by which naturally the “temporal” happening of the images is evoked, which in the memory is obviously all one. From all this, and for what it corresponds to the generality of the images, a reflection that belongs, philosophically speaking, it is said that the concept of existentiality (…) is like the describing itself, the being itself, “the presenting itself” (not in an external sense, but interior). Existentiality in which, however, it is not used, as it often happens (at least not to consider it within the very principle of existence) in reference to a dramaticity.
Duran seems to be equidistant from this and from the opposite.
Domenico Guzzi – February 2007
These works are part of the permanent collection of the Museo Nacional de Bellas Artes de Asunciòn, in Paraguay
(H.C.E.) Here Comes Everybody, “whoever is arriving”, this is how James Joyce defines the human condition in the last century; in this the psycho-temporal “deplacement” that brings me closer to Duran’s art, where each place is other in itself or is about to be, “epiphany” in a synthetic balance between form and color, movement and contemplation, appearance and disappearance. From a painting of mediated construction, “alle carte” of an istanthane perception of the landscape, to the chromatic abstraction and to the cinema that is synthesis of all this.
Corrado De Grazia
“While an image becomes complete and ineffable “even” in that place where it is already real, and waiting for the moment when it emerges from the memory, before impenetrabile “then” in a surprising “tempism”, it finally acts in a synthesis of strokes and colors. An artist and the memory, a “deja vu”, a sigh of nostalgia for a lived land, skilfully subtracted from the field with its own experience of love, of strength, of contemplation?
Rolando Culluccini
Museo National de Bellas Artes | Asunciòn, Paraguay | August 2007
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