Historical imagination

Over the last years, Liliana Golubinsky's painting reflects a world born out of situations and characters that take us back to the past. Maps, medieval knights on horses, banners, ships sailing rivers, caravels with their sails to the wind, fish, toy horses, Indians, war scenes, and countless texts underlying the images. Everything is painted on arbitrary scales, with a background of maps, tiny cities within walls, and a color that is at odds with conventional representation. Golubinsky's painting builds a world, translated through a pictorial vision. The artist locates herself in the fragmentary feature of our imagination. Her paintings are like friezes where we can find a whole range of images, the same which our subconscious mind stores and which, of a sudden, overpower us when we are awake or asleep. In a way, Golubinsky recreates history, but she does so without chronologies, without logical discourse. Everything emerges from the senses, from that which has lingered involuntarily in our memory, where the childhood vision predominates. The texts underlying the images have that unforgettable school-type quality. The overlapping of some figures, a certain grotesque, are part of a critical look we all had when we were children. A certain irony which does not turn into easy sarcasm is present in the artist's imaginative universe. Golubinsky paintings are not caricatures; she uses a measured tone which brings credibility to the visual world she creates, while at the same time she makes us smile. At a time when art is characterized by triteness and triviality --maybe another way of escapism for a our conformist and self-indulging society-- Liliana Golubinsky offers a positive, fresh and humorous vision which uses the narrative quality of history precisely to deny its historical character. Thus we are left within the wide horizon of imagination and creativity. After all, isn't the world the representation of what we make of it? With her painting, Golubinsky retraces the path developed by art over the centuries. She does not start with exterior reality to recreate it, but creates reality from imagination, endowing it with the credibility Picasso claimed for art, its capacity to turn lies into truth (and the other way around). Liliana Golubinsky's painting locates itself in this territory of illusion, thanks to the artist's undeniable truth given by her expressive means, and her capacity to turn pictorial resources into a language.