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It looks like a partial navigation coordinate but we are not talking about its location on land or sea. We are talking about turning a square canvas to turn it into a rhombus. A geometric figure from an author who always works with basic geometric shapes and extends her research to all the possibilities that these shapes can provide.
Until now, we have seen how the author sought in her works a dynamic balance built with shapes, colors and textures that achieved a certain emotional perception. But his geometric game constantly pushes him to search for new emotional forms of expression, to search for new balances, new movements and that search, which in his previous works drives him to get out of the frame, has finally taken shape in a new format, in itself, unstable and dynamic and, therefore, emotionally differentiated from what has been presented to us so far.
The rhombus itself is a perceptually very unstable shape that maintains an ephemeral balance and requires a detailed study of the shapes to stabilize it in perception. Therefore, we have a work that is based on the achievement of balance through the lines and on the work of the volume through the fractures of the planes that appear within the rhombus. The square or rectangle, which this artist has used up to now, is a very stable form that must be energized through planes built with masses of color that produce a perspective aided by fractures between them and by lines that unbalance the stability of the form. basic.
We are, therefore, before a new, and I would say opposite, experimentation process, although the elements of the game are the same: planes, lines, and masses of color.
The balance games presented here are more complex. Each rhombus has a dominant color: red, yellow, green and a predominance of blue, its fetish color. And as usual, they are not flat colors but carefully worked to achieve a wide range of shades. They also follow the fractures of the planes and the use of color perspective to achieve the desired emotional effect. She uses the verticals and horizontals to balance the painting perceptually, but now, to achieve this she needs a greater complexity of linear forms. If the work, sometimes, as in the case of the piece in green, seems to stop for a second in its circular movement, barely stabilized by thin blue lines in a cross supported by two masses, one upper black and the other in the form of a thick line in a very light tone, in others that sensation of a momentary stoppage of continuous movement vanishes thanks to the roundness and thickness of the vertical lines or the larger size of the color planes.
The constant need to play with sizes, the impulse of her works that require her to expand outside of herself has also led her to large formats that she has solved by building “removable” murals. That is, partially built pictures that are glued and completed on site by extending up the wall, which means a difficult assembly process. In this case, she presents us with a large blue mural that attracts and envelops the viewer’s gaze, introducing him to a world of virtual tones.
In any case, the final result of all these works is interesting since most of them acquire great stability thanks to the careful perceptual study of forms. A complex work built with apparently simple means such as masses of color, planes, directional lines and the exact measurement of all of it. This is the virtue of the works of Silvia Lerín, to build an appearance of simplicity with a work of difficult invoice. Ars est celare artem the ancients used to say and that is what makes this artist build works of art that hide the artifice.

M.T. Beguiristain

2008 – Vice-president AICA