Time Zero
Extension
Acrylic and collage on canvas
2013
Untitled
Acrylic and collage on canvas
2013
Invision
Acrylic and collage on canvas
2013
Untitled
Acrylic and collage on canvas
2013
Animus
Acrylic and collage on canvas
2012
Acrylic and collage on canvas
Acrylic and collage on canvas
2013
Untitled
Acrylic and collage on canvas
2013
Invision
Acrylic and collage on canvas
2013
Duality
Acrylic and collage on canvas
2010
The deep
Acrylic and collage on canvas
2017
The dense
Acrylic and collage on canvas
2017
White night
Acrylic and collage on canvas
2016
Delusion
Acrylic and collage on canvas
2013
Shoganai
Acrylic and collage on canvas
2017
Balance
Acrylic and collage on canvas
2017
Time Zero
Acrylic and collage on canvas
2012
There is a subtle correlation in the different techniques that the artist uses to express herself. Engraving, sculpture, painting, -also watercolor and installations-, stand out for the formal coherence of the means employed: moderately economical in form but rich in tone, inflections and nuances (...)
In Eloísa Ibarra's painting, we observe an attentive investigation of the plastic and chromatic values -with Rothkian reminiscences-, where 'abstract bodies' also intervene, i.e., simple geometric figures that seem to have density, volume and interchanging planes. The interplay between these elements establish a poetic blend of balance and scale, the constant search for a horizon and a possible order ...*
Pablo Thiago Rocca
Salinas, November 2010.
Peter Greenaway says that we have been taught to read a text, but not to read an image. I share this assumption, since it somehow speaks of our origins, of the innate virtues of a rational vocation destined to laud the value of certainties, that collection of gestures that are translated into the systematic, tedious and painstaking eagerness to preclude chance, uncertainty. But also refers to our limitations and the challenge of interspersing aspects inherent in our sensitive nature in with the paradigmatic regularity of the norm. Therefore, as suggested by Sontag or Barthes, reading an image would be going against interpretation and admitting the possibility of another code, perhaps more fleeting, but nonetheless intelligible and eloquent.
Thus, Eloísa Ibarra’s paintings, invite us from their stern serenity, to participate in an exchange that awakens stimuli and epiphanic resonances, a chance to stop and listen and to feel the whispering of a secret suspended in a mythical silence, that at times emerges and at times it hides, like slow pulses that can be felt through a smooth foam, a warm aura. Such is the enchantment of this poetic tension that resists being unveiled, because the ontology of its mystery rests perhaps in the imminent possibility of catching sight of it in the rough edges of the world’s prose.
Alejandro Corbo
August 2013
I always return to painting, there is an irresistible attraction towards the canvas and the pigments. I commune with the idea of achieving a state of intimacy, a subtle connection between the work and the viewer My ultimate goal would be that through its contemplation, the viewer may achieve a state like the one I reach while I paint, a state of natural meditation that brings me to a non-place, without space or time.
Eloísa Ibarra
