The works contained in the series On the limit of infinity, by Liliana Cortina, show an important evolution with respect to her previous formal search. Inserted in a cultural universe in which she governs the diversity of artistic languages, this creator takes refuge, on the other hand, in the solidity of painting.
But now, in her recent canvases, it is possible to observe that both her color range and her speech are radicalized. She now dominates in her palette a plastic world of ocher and white ...
... Ocher world, but without sadness, but not Ponciano, but before, possessing a balance that she commits to the one she contemplates.
In her imaginary, deeply self-referential and of great courage, the author finds herself in rituals of harmonious bodies, intertwined in something that is much more than a simple romantic scene or a test of physical love. Scenes of spiritual communion, declaration of principles, are the answer to those ancient questions contained in her dream figures, hers "landscapes with enigmas" and her "empty spaces". All her inquiry into her self is now summed up in the existential truth and the sweet mystery of lesbian passion.
... ocher world that before our eyes, suddenly, will be pierced by a lucid lightning, a glow.
It is in those targets, cast by the brush like spells, that the deformed and sordid faces that inhabit this world cease to be fearsome, to form part of the natural balance of life.
... deformed and sordid faces, but not heirs of the tormented monsters of Antonia, but rather Goyescos, laughable: sad failed censors, souls in suspense to whom life denied the grace of the orgasmic and that in the balance of the composition the defeat artist through light.
And it is also in the purity of these whites that it is possible at last! the arrival of the angel, or that refuge is found for those fused faces, arms and torsos in which the hold of hope lies
... faces, arms and torsos fused but not Servando, but not fighting, but only a moment of peace.
By Beatriz Gago, Curator and Art Critic.
