Margarita Andreu  /  Textos
Montse Badia English
Recintes, 2001

I wasn't working in a way which was alien to the history of art, or even to a philosophical tradition.Iwas working with what each person had in front of his or her eyes (Dan Graham)

The relationships between light and space, emptiness and fullness, colour and transparency make up some of the main lines of investigation of Margarita Andreu's work. From her first painted papers in the 1980s, which already established relationships with the surrounding space, through to her most recent pieces which question and take over space, the artist has gradually developed a discourse which aims to share the experience of a new vision with the spectator, the perception of a different dimension of space.

Space, for Andreu, is a constant challenge which has led her to continually rethink the elements which make up her work. The idea of the wall, or rather, of the confined space, with its multiple connotations, is a key element in this configuration. Metallic structures articulate themselves and reorder a space, the experience of which is irretrievably altered by the appearance of large metacrylate panels which heighten the complex play of contrasts between emptiness and fullness; between the constructive qualities of metal and the almost immaterial appearance of the metacrylate; between the chromatic variations of the latter and its transparencies.

Despite the formal clarity which results from this, the starting point for these exhibits is not only space, as we mentioned earlier, but also an obsessive amount of photographic research which leads the artist to 'capture' images from her immediate surroundings, from urban experiences which, for various reasons, catch her attention. So it is that the outsides of buildings, constructions, temporary structures use for advertising, urban landscapes with significant patterns of order and structural dispositions are converted into images which are processed, transformed, and, we would dare to say, 'abstractised' by the artist. It is in this sense that the quote from Dan Graham at the beginning of this text is not in the least bit gratuitous but rather is pretty close to both the attitude and the artistic premises of Margarita Andreu herself.

The photographs which the artist presents in the exhibition space and which make up another of her lines of research, correspond to public spaces, to centres of traffic such as airports, or they dwell on relevant aspects of significant architectural structures such as those of Mies van der Rohe. But even in the latter images, the photography does not lose its flexible or procedural nature, and stresses more the procedure than the rigid and hermetic finish. On the contrary, the exploration of techniques, structures and forms of presentation, together with the use of colour give these images an extraordinary intensity which cannot be understood in isolation from the surrounding space, from the immaterial structures with which they relate, or from the spectator's own experience.

Montse Badia
October 2001