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THE COMPLEXITY OF THE SURFACE

Bright colors, direction of movement, vertigo in the mixing. Aidee De Leon's paintings are within the symbolic boundary of the canvas, they emphasize their absolute abstraction, there is no reference window there is a presence that arises from the dynamic of the color, from the intensity of the stroke. The endless coming colors seduce, we try to see all of their aspects, but it is impossible because the axis is unstable, there is no up or down, it is the infinite of the painting itself. The narrative is on its own emotions, rhythm, color leads, and moves it to emerge without restrictions. The sense that Aidee has of color is a language in itself, she talks, she speaks using colors, with such composition of shades and of textures. Paint falls between lines drawn, and traces of pigments that permeate. Rebel brushstrokes alternate with thoughtful serene features. It is the effect of approaching construction of pure color, which is expressed from its own dimensions. Aidee paints like this because she enjoys painting, enjoys the voluntary act of creating.

Avelina Lésper           



THE PROVOCATIVE USE OF COLOR AST HE PROTAGONIST   

The series Naturalness of Aidee De León oscillates in the range that colors between the poles of different hues. The provocative use of color is the protagonist in pictures of indeterminate and vigorous forms. The technique is directly linked to the release of its temperament: although the use of color is sometimes contained and other times totally gestural as seen in the long strokes achieved with the whole body and in the free drippings from matter. The speech the artist seeks, the naturalness in the objectual environment based on an organic deconstruction, as she mentioned, giving the supreme end to her painting. The title of Naturalness suggests that spontaneity and freshness reflected in her works. The selected hues shine with dazzling light in a dynamic exercise of vitality, as it expresses an intense way, Aidee De Leon's painting is full of her own presence.

Sara Aroeste          



AIDEE DE LEÓN

In recent years painting has been undergoing a renovation that many could have believed impossible. After the polarization that marked the art debates during the eighties and nineties, artists have abandoned the old prejudices that accompanied the opposition between figurative and abstract and just ignore its slogans and schemes. They have begun to include into their work elements and strategies from the wide range of possibilities that visual culture and contemporary art can now provide. A good example of this attitude is Aidee De Leon, who brings to her paintings contemporary art strategies so as to reflect on their practices, on their way they are nowadays. Aidee not only paints, she also designs and builds. In her work painting and objects meet in a partnership to produce a sensitive microworld that refers to a reflection on the meaning of some iconic pieces of contemporary art, such as Gabriel Orozco's empty shoe box. In short, it is a collaboration between disciplines and the result undoubtedly qualifies as significantly happy and deeply thoughtful.

Blanca Gutiérrez           




STORM AND BECOMING

If Aidee De León's paintings were made into a book, her book would have neither a beginning nor an end. Nor would it have a prologue or an epilogue: It would just be a long chapter/river without visible boundaries, written, page after page, with a frenzy that raises, a whirlwind Ezra Pound could have written, but I fantasize in vain. However, he wrote: Leon, paint pictures and do not write books! Because the fugitive whirlwind that never stops, always boils and never stops, and it is embodied in your painting. A body that has no stable center but a moving painting body that explores the instability of everything. The grammar of gesture over the method of flow. But in the pages of Aidee De León's imaginary book there is a succession of alterations where one can hear how the two parts comunicate: accident and essence. Accident is changeable while substance remains. Pliny the Elder spoke in his throwing a stone, however small, it could expel a violent storm from inside. A gesture in Aidee is a small stone, her painting a cyclone. Painting is the art of silence that sometimes sings and sometimes hides. Celebration of singing and silence: there is storm energy and boiling in this vital work, I celebrate its festive and organic beauty. I opened my mouth to read it better and its gestures came into me as in Pliny's cave.

Otto Cázares           



AN OSCILLATION BETWEEN FIGURATIVE AND ABSTRACT

If you look closely, into the motley iconography of her paintings there will appear things Aidee finds among the street vendors of the historic center. All of it going through different degrees of abstraction, the starting point being the metaphor of consumption, of industrial saturation at large and small scale, to anchor images that recall nature, longing, utopian though only possible in the oscillations of desire, a desire where landscape nostalgia lives on. All of it varied and full of bright colors, colors carried to its maximum exaltation.
A sphere reproduces Gabriel Orozco's empty shoe box twice with a sparrow perched on an edge, while in the other a sparrow is inside their makeshift bier, dead (again allusion to nature and its loss, degradation). If Orozco's shoe box symbolizes nothingness, the trivial, Art is led to its complete dissolution and therefore its death with its subsequent resurrection, and the relationship with the little bird is clear. On the other sphere Aidee painted Van Gogh's shoes that could fit in the shoe box by Mexican artist, which involves a new meaning: the art of all time is full of exchanges, contrasts and continuities.

Lila Driben           



AIDEE DE LEÓN


Nothing makes me happier than when a picture kills my words. It doesn't matter that eventually they rise back, because then they are other; and after watching Aidee De Leon's work they return drunk, happy, they smell of flowers that do not longer exist, and tremble a little.
Speed is also a way to create space. Through a series of precise but free movements (no matter if they are pre-planned or arising suddenly at the moment) an eroticism of colors and shapes brings us to seduction. In a world in motion, repetitions are missing, echoes form new bodies, there is a constant aching of being born. And that light emanating from the works of Aidee De Leon is the signal of life. And it shows us that chaos and order are just our prejudices, illusions of perspective that facilitate speaking.

John Lundberg  

         


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