FORM, GENDER AND SYMBOL. 

THE FEMALE ESSENCE is presented not as a sign of gender and distinction from the others, but as an idea of generation, of life, of spirituality and acceptance of our limited human condition. We are for and pro life. 

Martínez explores her inner self seeking to establish in a circumspect way the coherent connection of existence and its passing. Nothing is random for the artist; everything exists in a harmonious correlation and with its own meaning. For her, life leads us respecting a coherent dialogue between action and reaction. 

Her forms evoke the idea of a religious icon, but it is not about the classical and theological image itself; on the contrary, an intention is perceived to respond to universal mysticism, to the meaning of life, to the intention of self-growth. 

The artist invites the viewer to confront the form, transcending the limits of figuration in search of self-knowledge; thus a frank and direct dialogue is established. To achieve her mission, she introduces the symbol in a subtle way, but with a predominant role, having reflected on it before it is born on the surface. 

In this universe nothing is gratuitous: neither color nor shape nor every one of the geometric hints; everything is invoked in its purest state and must be so when the intention is to develop empathic communication between humankind with its existential essence. 

The feminine essence is presented not as a sign of gender, but as an idea of response to the potential of existing. The feminine essence is posed not as any other but as the other self, opposite and complementary, a giver of life and vital energy, that face of ourselves before which many times we decide to close our eyes not to find it but to deny it, an act that is not seen in some of her canvasses as giving us notice. 


Germán Rodríguez
Master of fine arts and mentor

Oil

Title: "Udyat d'cib"

Year: 2018
Dimensions: 53.5 x 53.5 inch
Technique: Oil in canvas with gold blade
Private collection

Title: "Silence"

Homeage to Gustave Klimt and Beethoven
Year: 2018
Dimensions: 69.2 x 43.3 inch
Technique: Oil in canvas with gold blade
Private collection

Title: "Adagio"

Year: 2018
Dimensions: 48.8 x 48.8 inch
Technique: Oil in canvas with gold blade
Private collection

Title: "An uninterpreted dream is like an unopened letter" Carl Jung.

Year: 2018 
Dimensions: 31.4 x 31.4 inch
Technique: Oil in canvas with gold blade

Title: "Etznab"

Year: 2019
Dimensions: 19.6 x 27.5 inch
Technique: Oil in canvas with gold blade

Title: "La Sacerdotisa"

Year: 2019
Dimensions: 15.7 x 15.7 inch
Technique: Oil in canvas with gold blade

Title: "La CIB"

Year: 2019
Dimensions: 15.7 x 15.7 inch
Technique: Oil in canvas with silver blade

Title: "Thalassa"

Year: 2019
Dimensions: 39.3 x 39.3 inch
Technique: Oil in canvas with silver blade

Title: Homeage to the piece "La tiare d'argent" de Fernand Khnopff

Year: 2019
Dimensions: 39.3 x 24 inch
Technique: Oil in canvas with silver blade

Title: "The Vestals"

Year: 2021
Dimensions: 39.3 x 66.9 inch
Technique: Oil in canvas with gold blade

Title: "Danae"

Year: 2021
Dimensions: 23.6 x 66.9 inch
Technique: Oil in canvas with gold blade

Watercolor

Title: "Anastasia"

Year: 2019
Dimensions: 7.8 x 11 inch
Technique: Watercolor on cotton paper with gold blade
Private Collection

Title: "Lorena"

Year: 2019
Dimensions: 7.8 x 11 inch
Technique: Watercolor on cotton paper with gold blade
Private Collection

Title: "Niños máscara"

Year: 2018
Dimensions: 7.8 x 11 inch
Technique: Watercolor on cotton paper
Private Collection

Title: "Niños máscara"

Year: 2018
Dimensions: 7.8 x 11 inch
Technique: Watercolor on cotton paper
Private Collection

Title: Seria "Aves" 1

Year: 2019
Dimensions: 7.8 x 11 inch
Technique: Watercolor on cotton paper

Title: Seria "Aves" 4

Year: 2020
Dimensions: 19.6 x 19.6 inch
Technique: Watercolor on cotton paper

Title: Seria "Aves" 5

Year: 2020
Dimensions: 19.6 x 19.6 inch
Technique: Watercolor on cotton paper

  • At the moment of conceiving a painting, you became interested in psychology, psychoanalysis, geometry, symbolism, philosophy, and mysticism. How do the images emerge that later become a painting?

    It´s a very broad topic. I would say that the subjects that I study, and that I take as a reference, allow me to explore myself as a human being and, from there, build, through the image, a series of elements that, in principle are dreamlike or experiential. I take this, filter it and try to convey to the viewer what I feel. However, each human being has a particular vision of the world and what amazes me the most is that, in the end, others see things that I do not. We are all a world to explore, but for me, the purpose of creation is to reach people in one way or another through the senses.

  • How do you use symbolism in paintings?

    For me, Symbolism is like life, a mystery to discover. In the collective unconscious, there are a series of elements that we keep and bring us together without knowing. It is like a hidden language that we all have, but that is paradoxically unknown from our conscience. 
    In my case, the study of symbols of different cultures or forms of representation is like the guide to making the intangible tangible; I take it as a code and as a guideline that guides me towards what I want to manifest.
    "As Carl Jung states, Who looks outside, dreams; who looks inside, awakes ."

  • Are you self-taught or how did you start your career?

    I studied and graduated with a Master of Fine Arts. However, it took several years before beginning to explore painting. Initially, in my career, I started with audiovisual media since I worked for nine years in film, production, and art direction, and I had direct contact with the Russian culture that, over time, became very important in my work.
    Painting came naturally to me from an early age, but it was a few years ago that I took it on with discipline, initially with the accompaniment of a mentor.

  • What motivates you in your creative work?

    In principle, I am motivated by personal knowledge and the possibility of turning events and experiences into something visible. For me, sometimes painting is how events — sometimes unpleasant — are transformed into something beautiful, and, likewise, painting becomes my reminder of what it was and what it has become today. For me, the act of painting is not a job: it is a form of meditation and self-awareness. 
    I am also motivated by the fact that I can communicate with others through an image, convey a feeling that shakes their unique way of seeing the world, show them another perspective.

  • Do you have a specific objective in your creation process?

    Through artistic expression, I seek to transform interests, personal experiences, and academic knowledge into physical pieces that contain meaning and spiritual value. That is one of my purposes in doing this work.

  • What affects the final shape of a painting, and when do you feel that it is finished?

    As someone has already said, a painting is never finished, it just simply stops at an interesting moment.
    It can be difficult to feel this moment, and it is easy to overdo it. Sometimes, It's not very clear when I should stop. The final shape of a painting is determined by everything. There is a moment when you feel that all the elements form a harmonious combination and that it's time to let it be.
    In my view, these elements take on a life of their own as days go by. It is a magical process and in the end, in front of them, one becomes a stranger.

Contact

info@dianamartinezg.com