Newspaper. Buenos Aires, July, 2002.By Rafael Squirru


Urban enigmas


The art of Graciela Ieger recalls us of the deep observation by Goethe that every new idea wich aims at lasting in time should support itself on a previous truth.
The oleo works of Graciela carry an unique originality seal, that according to me, mean they have been able to go back to the origin. The art cannot be invented, it is created, it is explored. In this case it is the mystery of everyday life, in which not every artist is able to enter. The mystrery is that hides is the essence beyond apearances. And Ieger does not scape from appearances, she assumes them, she questions them with a powerful imagination, an animic power that many confuse with fantasy despite the distinction made by Coleridge: fantasy can be capricious, but not imagination. That is why if we aim at reaching the true image level it is necessary the ability to imagine, it is not enough to fantazise like many upstarters that confuse originality with not being like anybody. The one that is similar to anybody assumes the fatality not to be anybody, All art that deserves to be called so follows a tradition. In the case of Graciela, the tradition is Hopper’s. One of the gratest genies of modern art was Edward Hopper. I had the priviledge to meet him and listen to his wise words. His art was related with the tradition of Eakins and through him related as well with the world of classics, with the American seal.

Also our art has its own seal. That is why the light that reflects the work of   Ieger is Argentinian light from the city of Buenos Aires. In days in which the sun shine upon the city walkers and in many cases they are accompanied by the proyection of their shadows. The streets of Buenos Aires have been caught by an optic nerve which is very precise. Ieger is a clasical painter in the fairest sense of meaning.