Thought “feels” the limits of things whereas sensation "thinks"
that they have no limits.
Rafael Argullol, El caçador d’instants ('The Hunter of Moments').
The mind works fast, it associates, makes connections, chooses... To think of visual images is to contemplate all possible combinations, is an inexhaustible source of relationships and associations. We always find ourselves at a crossroads, within a network of paths, and these moments call to us in a way which is impossible for us to ignore. That brushing past which Ian Carr-Harris* talked of, the brushing past which allows you to start anew, in which the fortuitous, unique and precise moment appears, like acall, and stops you so that you may follow it all the way. The path is marked by light, colour, space..., but it is that flown time, the sum and overlapping of moments, the perception of movement, which creates our lifelong itineraries. That is to say, this moving through the fragility of a moment which falls apart in our hands, and insisting with our mental mechanism on heading towards potentiality, because Margarita Andreu plays with mutation: that which comes from outside and transforms the exhibit (light, colour...) and that which is projected by the exhibit's own movement (absorption/reflection). Indeed, it is the reduction to abstraction based on real content and a widening of the possibilities of perception.
Her works are ephemeral spaces criss-crossed by light and time, by the walker and the person who waits... They are a human landscape, a network of human relationships which make up her memory, and what concerns us is the need to capture those things which escape us regarding architecture, the object, mankind.... To capture the rhythm, the moment, everything which merges into an itinerary marked by continuous changes, that passage of being in time which Saramago saw and the subtlety of a reflection in a process of constant transformation, because the moment is in itself a second of light, colour, space, shadow..A human memory of trajectories which have been dismantled in time, the absence and the vacuum which allow us to recognise the fragility of a lived moment.
Turn is the invisible. This work is and is not. A base makes possible the articulation of light as a mobile window which, almost without perception of limits, marks out the future with the greatest subtlety. The appearance is describable, but nothing is behind this appearance and with movement it becomes transformed in the eyes of the spectator. The game lies in the mobility of the observer and that of the work itself. It is necessary to plumb its depths by looking at the creator of the piece, at her fiction, at the idea of compartmentalisation, at the fragment which also becomes fiction in the mind of the observer. It is a trick of the eye through which you remain with the moment you have ceased to see. In fact, everything is a consequence of gesture, because we focus on the visual images, but what appears is a mass of ephemeral colours and shapes... The solution lies not in the concrete image but rather in the possibilities, in the potential multiplicity, in the capacity for mutation....and the result, always open-ended, is the sum of all these images.
If we go back to the piece, we will see how it escapes us and how everything becomes a mesh made of overlaps, of appearances which retain the moment between the subtle, fragile appearance, and disappearance, absence... Turn is the network of human relationships, that landscape which creates itself out of the most neutral transparency, out of interior architecture as reticule, but without materiality, without the weight of volume... Margarita Andreu lightens the components of the work so much that it becomes an architecture made of atmospheres, an architecture not intended to enjoy permanence but rather to absorb the transit of being, of the world and of things. Turn is merely a body which transforms space, our sense of perception, our relationship with space, and the construction is a mobile drawing.
I would like, now and again, to contemplate existence from the 'other' side.
(...)I would like to see myself from outside, think about myself with an external mind.
I would especially like to "feel myself" through the senses of the world.
Rafael Argullol. El caçador d’instants ('The Hunter of Moments').
Planned as a sharer of spaces, it has certain aspects in common with Turn, such as the idea of appropriation of space and that fact that it is also a rotating exhibit. The difference is that Enclosure is not intended to reflect but rather to absorb the images like a screen, and, through movement, work as a filter. According to perception, on first one side and then the other, we find the flow, this absorption for an ancient skin, this glass which covers the idea of a synthesis of skin.
Enclosure traps the movement, the subtlety of perception, the transitory nature of things... The different moments which merge create the drawing of a fleeting work which lies between that which is formal and that which is not, in which memory marks the limit between the seen and the not seen and the neutral transparency of the spectator's passing through, of his walking... Once again we have the reticule, but here the human landscape is essential for articulating and constructing a new, changing space. Everything takes place on the other side, as if in a mirror, but in fact perception needs to be dissolved in a dialogue of both sides. There is always a play between two tensions which can be reduced to abstract layouts, as a consequence of a rationalising and geometrising concept of the mind, and the effort to express the sensitive side of things, emotions, due to a more romantic fluctuation of the senses. There is a contradiction between wanting to explain less and less things in a highly abstract, more pragmatic vision, while also wanting to give shape, using the idea of memory as a base. When she uses glass, as is the case with Turn and Enclosure, her capacity for absorption provides us with a bridge between the mineral world and living material, and becomes that Calvinian emblem of perfection through which one may access invisibility.
In the work of Margarita Andreu there is a merging of different processes. It does not matter if we talk of installations, sculptures, photographs, drawings... With sculpture she draws and constructs space, creates atmospheres using glass and its transparency; but with photography she also creates an overlapping of atmospheres which may be lost behind a mesh, as if the possibilities of materialisation had disappeared behind the field of vision.
* Ian Carr-Harris Moments in the work of Margarita Andreu