Prologues

Syntony and spell

Published in " Syntony and spell "
by María Paula Zacharias




…Walks towards her workshop looking into faces, making mental notes of gestures and modes. And when it comes, she is guided by impulse. Plunges into fabric. With a blank mind, she dives into the adventure that each canvas proposes to her. The characters are already there. They are shadows that she and only she is able to see. Her task is tracing and putting them in the sight of others.
First in isolation, with an almost invisible marker .Next, she traces in black those who manage to pass her first casting , and finally, colour comes… only for some . Thus, she throws the crowd onto the fabric. She makes them come into play. But before, they were hidden stains inside the frame. Waiting to emerge and participate in the stories that her paintings tell. And while emerging, data from reality slip away. Alert, sensitive, Liliana Golubinsky lets herself impregnate of that environment in which we are all immersed. She does yoga. She meditates. She opens herself into the universe. And discovers that the houses which she painted in flames are similar to those of a colourful fuming transandine village. The sharp teethed fish that bite feet are probably the same which, later, scare vacationists away in the Parana River. It is not premonition, she says, but syntony . Being open to capture the energy. Vibrating with the surrounding. A perceptive attitude. "I come to my workshop with emotions raw -flesh. Everything comes to me. I bring the people as I walk along. The characters just get stuck. I bring them all to my workshop and I compose them “she says, visceral. The cosmos gets into her masterpiece, sets itself in a dance of little men and women, and in all her readings of historical novel, the music that sounds , the chocolate she eats ,also her beloved ones - her father is permanent staff- and camouflaged public enemies. Nobody gets bored at this workshop in Belgrano. Liliana has real fun painting. It takes solemnity away from her art with humor." When I feel that I'm getting serious, I turn over the frame,” she says. Her characters are put into action, laugh or cry, dance, fight. Something happens. There is nothing static in those worlds that have multiple simultaneous spaces and times, the same as in dreams or fantasies. On the same layout, heroes and satyrs, doñas with rollers, ravens, airplanes and suited -gentlemen. It is fascinating to watch her paintings closely, to find the tiny scenes that her actors interpret and read the inscriptions left as clues. Discover micro-stories. Conversely: move away and dim the lights off to appreciate the whole. Her paintings have large dimensions and keep growing into two or three at a time. A job with many fillings becomes tiring, so she rests in light designs. Then she comes back on friendly terms. She tends to match them: two per subject .
And does not follow any order. Up and down the fabric , she lets herself be caught by their emergencies. No sketches , diagrams or reasons. Marker, charcoal, pastel… paint and marker again. She paints, draws , paints , draws . And ends up painted all over, her fingers pasteled, drippings on the floor and a multitude of newly born beings. The only discipline imposed is working every day until night. "It's a necessity." In Fear, nudity , exposure , loneliness and helplessness appear . As it rises, the underworld of coal is taking shape and colour. Camping Day is pure recreation, with its cavalrymen , skaters , fishermen , musicians and pet-birds. The funny heroes and martyrs of Belonging . "Neither solemn nor trivial . just playing with the historical "she explains. Also, variations on Adam and Eve. Being puts city life on stage , with its dangerous crossings, vertigo , cars and buildings. She changes the format in the polyptych Vegetal and Please, hear me?, modular pieces of work, which she assembles like puzzles . And fun persists in the boxes, collages with papers of different textures , wrinkled and overlapped , in which the action takes place in three dimensions. In all formats, a thousand and one little characters that perform those confidences or signals that reach the artist who then translates into images. Each time closer , beats and is carried away by sensations . That is why she confronts the canvas with no maps or preambles :she works out at the same time as she makes those messages which resound in her soul. “Time passes by and I feel my head opens up , I can learn more , I can give more. I do not calm down . I feel like painting bigger and bigger " she says. A volcano of emotions, projects , ideas and paintings is hidden behind her light-coloured-eyed serenity, the softness of her ways , her light steps. Her characters are found all over the furniture, they climb tables , surround pots and pans and they also multiply in cotton print. Liliana is always thinking about something, and a day is not enough for all the things that must be done. "I'm not the calm I transmit "she confesses. No. What it is – for sure - is hope. Her undeclinable optimism appears in the titles ( Heavens to find , Exit to light) , magicians with magic wands , houses that provide shelter, twin circles , couples in love with hearts and rainbows , and in the light-houses that point to mainland and help to find the course .She paints a medicine for each conflict. A spell. There is always , always an exit .