Camino de Caracas en Camino a Comala

Exposición de pintura en Camino a Comala: Café de especialidad, Santa María la Ribera, Ciudad de México, Octubre 2017

La ciudad a través de una rendija

Son simplemente vistas a través de una grieta, o más bien una rendija, que se dan en mi deambular urbano diario. Espacios perdidos, parciales, privados, derruidos, escondidos, fugaces. Los enfoco a distancia entre muros de concreto que los oscurecen, aunque su bella luz sigue produciendo esa atmósfera misteriosa que se revela en los colores añorados. La luz tropical igual ilumina con gracia las ruinas o la exuberante naturaleza que la retoma en minutos.

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La muestra consta de una serie de pinturas recientes de un paisaje urbano caraqueño que recuerdo en particular con nostalgia desde el exilio y con temor a la turbulencia que se va simplificando en una geometría abstracta. Los espacios entre edificios, esas vistas no diseñadas, siempre me han atraído como tema. Los ductos, aparatos de aire acondicionado, las escaleras, tanques de agua y todo el perolero que conforma la infraestructura de nuestra comodidad, y que sugiere de alguna forma una crítica a nuestra vana existencia y a su serio impacto ecológico.  Son los símbolos de lo que queremos controlar, pero se nos escapa.

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The city through a crack

Simple views through a crack, or a cleft, which I find in my daily urban wanderings. Void spaces, partial, private, demolished, hidden, fleeting. Seen from a distance and overshadowed by concrete walls, the beautiful light still produces that mysterious atmosphere revealing my favourite colours. Tropical sunlight that illuminates the ruins as graciously as the exuberant vegetation that bursts forth.

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The show consists of a series of recent paintings of the Caracas urban landscape that I remember with nostalgia in exile, worrying about the turmoil, and that becomes simplified to it’s most elemental geometric abstraction through repetition. The gaps between buildings, those undesigned views, have always drawn me as a theme. The ducts, chimneys, tanks, ladders and air conditioning appliances, all the apparatus that makes up the infrastructure of our comfort, suggesting criticism of our greedy existence and it’s serious ecological impact. The symbols of the things we want to control but that ultimately get out of hand.

Crookedfield says Hi to Henry Hair Mattress: part 3

This exhibition has a retrospective character going back over 30 years of work, and shows something of the process of synthesizing the landscape to evolve into an abstract alphabet. Through Victor Fuenmayor’s critical text we can follow the process of the developing abstract alphabet and the reconstruction of this landscape with these symbols.



Victor Fuenmayor, Maracaibo, November 25, 2016

Initially I perceive in Natalya Critchleys work (England 1963) a spatial disorder that draws me in as I unravel a code of signs that combine as text, articulating unusual ways of perceiving the urban and industrial landscape. All true creation begins with a deconstruction or creative destruction that leads us to create new ways of writing and new readings. Natalya Critchley invents a new landscape, recreating it imaginatively, which prompts a search for her codes for reading.

Continue reading “Crookedfield says Hi to Henry Hair Mattress: part 3”

Crookedfield says hi to Henry Hair Mattress: part 2


Natalya Critchley (Crookedfield)

Jimmy Yánez, Exhibition Curator, November 26, 2016

Whether the creation starts with an alphabet constructed from a spatial vision of the urban and natural landscape, or a web of forms and colours like a carpet, Natalya Critchley creates a unique poetic model from her texts.

As we are dealing with a retrospective exhibition, we will show this creative model in variety of media and materials throughout her career, with a convergence of forms in a constant crisscrossing of lines, like maps where we can imagine her writing with letters from her alphabet, an intercrossing of threads and metaphors repeated in her textual creation between geographical reference and the unique imaginary existent in the artists epoch.

Continue reading “Crookedfield says hi to Henry Hair Mattress: part 2”

Crookedfield says Hi to Henry Hair Mattress

The name of my exhibition at Maczul (Museum of Contemporary Art, Maracaibo, Venezuela) opening on Saturday 26th of November refers to my longstanding admiration for Henri Matisse as something of an insider joke. Henry Hair Mattress was the name which Chicago students christened him with in their protest against the 1913 Armory Show, which travelled from New York to Chicago and where 80% of the city came to see this scandalous exhibition of modern art. Crookedfield is a rendition of my surname.

Continue reading “Crookedfield says Hi to Henry Hair Mattress”