𝑭𝒓𝒂𝒏𝒄𝒆𝒔𝒄𝒂 π‘·π’‚π’π’Žπ’‚ 𝑻𝒆𝒓𝒂𝒏

π™’π™π™žπ™‘π™š π™¬π™š π™¬π™–π™©π™˜π™ π™¨π™€π™’π™šπ™©π™π™žπ™£π™œ π™¨π™šπ™šπ™¨ π™ͺ𝙨

Solo show inaugurated on August 25, 2023 until September 18, in the La 4ta pared gallery with the introductory text by Ariana Tigua:

“The truth of the visible is an illusion. Its discredit has been progressive, from the moment that the β€œeye is no longer the one that preaches a Β«real world»”. Sight, which has always been considered the noblest of the senses, is usually powerless when it comes to perceiving the universe that unfolds before it. Appearances confined to visuality are responsible for the ambiguities that expand before vision. The gaze, in its audacity and autonomy, envelops us in cyclical traps, in its attempt to string together what is presumed to be real. This is known by Francesca Palma (1997), who in her personal ramblings lurks in those nooks where the prominent faults that hinder perceptive clairvoyance are installed. By exploring such abysses, she takes their fallible condition to relocate them in her paintings, retaining her feigned obstinacy. This is how the forms adopted resist being easily revealed.

In her landscapes she condenses the visual illusions that the images extracted from the infinity of the screens confer on us, incorporating elements that invite them to be found. The factors that stand out and are discriminated against are understood as β€œfractions of the real”, to use Palma’s expression. They are erratic versions, distanced representations of reality. The image, in its successive translations, transcends formats and dimensions, and throughout this process, perceived reality, the photographic image, the digital image and the painted image, can be glimpsed, generating a fracture in the traditional landscape genre. These resulting fragments are skilfully included as blind spots in the painting, leaving them suspended through lettering and embossing. This assemblage of languages, through which the materials and the invoice converse with the painting, activates and involves dialogues with the configurations of seeing in its optical unconsciousness…”

Ariana Tigua Montenegro (Ecuador,1996)