Irene Sánchez Moreno‘s (Granada, Spain, 1983) landscapes -visually vibrant and blinding- can be contemplated as a banned and inaccessible territory. Landscapes which are autonomous and protagonist but which, at the same time, are marked -for good or for bad- by the ravages of man. Horizons that give us a bucolic but threatening feeling, that “double Arcadia” that Erwin Panofsky talked about. However, a desire for reconciliation also prevails, an attempt at self-assurance in the face of a vast and unattainable infinitude.
A mountain, a dry tree trunk, or a partially cloudy sky must be able to reflect artistically speaking -subjectively- states of consciousness. It is an experience of the boundary that postulates a vast spiritual itinerary beyond an objective representation.
In addition, it is truly fascinating to see the versatility, the inconsistency by which these landscapes shift from being vacuous picturesque curiosities to becoming a pure emotion of the sublime –Ruskin used to call the Alps “cathedrals of the earth”-.
The narrative nature of her work makes us spectators come face to face with open-ended stories where we can contemplate ourselves from a “vantage” and intentionally revealing point.
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