Vicky Uslé amazes us, first of all by the feelings of optimism and generosity that are manifest in the ability of inventing a cornucopia of abstract images, and second, on safety and determination. It belongs to a tradition that emphasizes the poetic potential of abstraction, which gives to the painting, in the best cases, the ability to be a form of knowledge itself, without claim for her other functionality.
His works function as drawings, possessing the intrinsic qualities of this medium, like spontaneity, dynamism, freedom, fluidity and lightness, even when some of the images are particularly complex formally and / or chromatically. to Vicky Uslé, work in paper is a laboratory for imaging and the development of ideas, ultimately creating a visual data bank. The images suggest industriousness in its creation, and even some slowness and delectation. It is refractory spaces, built by repeating the movements of the brush strokes that act as modular or architectural images.
We find with organic and whimsical forms, but also, more frequently, with other analytical geometric nature, floating on an empty space and clearly metalinguistic, which are articulated, folding and falling back as the changing forms of a kaleidoscope. The drawings are not title, underscoring its abstract nature. About half of them are constructed by repeating sweeps brushstrokes, creating tonal bands of different colors or chromatic intensities that can reach remind the fascinating plumage of birds. These forms suggest cut-outs with which could create volumes and architectural elevations, sometimes mere boxes, or perhaps whimsical paper lanterns, but sometimes really complex maps. The sense of depth can, however, already be generated by the use of different perspectives or simultaneous superimposition of shapes, lines and colors.
Vicky Uslé spaces are dynamic and pulsating and therefore are always in the threshold of instability. His brush moves like smoke when the wind is not disturbed and obeys orders secrets. The artist reveals horizons that are always subjective, open and unknown. This is not a hostile territory, their world is decidedly friendly, as an unexpected hostel on the road or in a particularly pleasant place in a forest in which decided to relax and marvel.
Her drawings invite us to try to figure out which movements and ideas have generated. We can imagine, for example, that the verticality or horizontality end, have not necessarily been the original. Some create itineraries, sweeps or routes, rather than spaces, such as the tail of a comet or a pheasant. Other times can almost visualize screens, protective roofs, circuits, diagrams, musical notes, introspective viewpoints, energy sources … Ultimately, perhaps an entire epic set of possible genetic systems.
All these forms are generated and circuits themselves, float or move, describing balances, parameters, horizons, spaces of all kinds: conceptual, air, liquid … suggest a detailed analysis of identity and relationships. A willingness to order, orientation, self-knowledge in short, puts everything in motion. He acts also aware of its limits. This process certainly generated by desire, is already in itself a form of pleasure, so much as half. Vicky drawings Uslé have the perfect beauty of Japanese gardens. In a first and superficial view we might think we are at the entrance of a maze runaway horse riding, but not wrong to us. We are facing a serene and strong affirmation of the center.
SANTANDER, SPAIN 1981.
Lives and works between New York and Spain.
WEIGHTLESNESS ENCOUNTER, Alexander Levy, Berlin, Germany
OPEN SPACE, Galeria Siboney, Santander, Spain
WOODSHEDDING, Alexander Levy, Berlin, Germany
ABSENCE+DEPLOYMENT, Galería Travesía Cuatro, Madrid, Spain
BUILDING SAJA, Galerie Van der Mieden, Antwerpen, Belgium
INTO HABITATS, Galería Travesía Cuatro, Madrid,Spain
COTA UNO( Project Room ), Arte Santander, Spain
EL DOMADOR DE CARACOLES, Museo de Bellas Artes de Santander, Spain
WALKING BERRY, Galería Travesía Cuatro. Madrid, Spain
AMULETO, Galería Siboney, Spain
TAKE AWAY, MCO Arte Contemporanea, Oporto, Portugal
THE LAST BRUCENNIAL, The Bruce High Quality Foundation, New York, USA
UT PICTURA…, Galeria Isabel Hurley, Malaga, Spain
THE CLEARING IN THE FOREST, Beijing Cervantes Institute, China
THE CLEARING IN THE FOREST, Tokyo Cervantes Institute, Japan
LA BOLSA Y LA VIDA, Casa de Velazquez, Academie de France, Madrid, Spain
MIRADAS DE MUJERES EN LA COLECCIÓN NORTE, Biblioteca Central de Cantabria, Santander, Spain
CREARE, CASYC, Santander, Spain
SHADOW LINE, CSV Cultural Center, New York, USA
HIGHLIGHTS OF CAM, Chelsea Art Museum New York, USA
SIEMPRE NOS QUEDARA LA PINTURA, CASYC UP, Santander, Spain
GEOMETRY AND GESTURE, Elga Wimmer PCC, New York, USA
ABSTRACTION REVISITED, Chelsea Art Museum New York, USA
[1+1+1]x2=∞, curated by Fernando Galan, Mario Mauroner Gallery, Vienna, Austria
CONVERSATIONS, with Polly Apfelbaum, Galería Travesía Cuatro, Madrid, Spain
DONDE LAS MUJERES, Torreones de Cartes, Cartes, Spain
V PREMIO DE ARTES PLÁSTICAS DEL GOBIERNO DE CANTABRIA, Casa de Cultura de Torrelavega, Spain
FIGURATVELY SPEAKING II, Elga Wimmer PCC, New York, USA
X BIENAL DE ARTES PLÁSTICAS “CIUDAD DE PAMPLONA”, Pamplona, Spain
LA MINA NO ESTA AGOTADA, Galería Siboney, Santander , Spain
MARS ON EARTH, RKL Gallery, Brooklyn, New York, USA
PRINTS FROM ROME , Piazza Cenci, Roma, Italy
EL TRANCE DE LAS TIJERAS, Palacete del embarcadero, Santander, Spain