“Ursomarzo “Gallery/Buenos Aires, June 2001
By Raul Santana
The realism, name far from being accurate, for there are so many realisms as painters, has been so continuous in history of visual arts. Questoned, rejected, ridiculized by those who were convinced by the arguments about adandonment of the referent, arguments that were on great auge in the first decades of the XX century and continous to have constant revivals. It seems to be that reality, that rythm and peculiar way to move is an attribute of each time. They continue to be necessary nutrition for those artists that in the world of representations seek to give birth to their own feelings, through that very referent to everyday life.
Graciela Ieger has been developing for some years on her own imaginarium from her visions of everyday life in the city. She is not an artist that stands back to discover the real aspects by its descriptive; all we must do is watch any of her pictures to perceive that more than a description they are about capture of a climate that the artist transmits with her representations to build a true enclave of visual equivalences. That is to say, the images of Ieger go from the real and recognizable thigns but lead us to somewhere else, to that feeling of the artist that submerges it all in a reality that erradicated the contrast. The figures are among shadows and it turns to be difficult to understsnd why these shadows produced by a strong light bring to us that sensation of emptyness comming out of her pictures. Indeed, those fragments of architectures follow in their own rythms, nevermind the figures around in the street. There is a silence that even though noisy presences of the streets, the artist transmites them is each picture like if she has divided incommunication from mystery that effectively in each instant and with a more than sporadic look goes around life in the city.
It happens that the artist takes the point of view that turn the familiar things something that appears with the power of the strange and it is nessesary to say that Ieger does not make any montages that make inusual the real things and the artist find in the visible, the minimum fictions like the pase of a woman or a man in the street the makes us think there is no fiction that can be compared to life.