Chromatic Palimpsests, Ana Margarita Ramírez

In this sense, color and line become essential features of a series of properly ritual acts that serve as a prelude to generate a method of composition that orders and generates a plane of juxtaposed chromatic densities. Weaving is creating, interweaving, there is a deep link between the action of creating and the act of generating a fabric, a network of multiple contacts, a field of libidinal frictions, a collision of symbolic senses and experiences conceived as chromatic palimpsest. Under these premises, each torn piece of pictorial residue is strengthened by interweaving, so what is woven is joined, tied, acquired resistance, becomes a structure that gives meaning and enhances  the emergence of forms.

The fabric is a bridge to the other shore, supports and allows movement. Knitting with the line and the color allows to generate a transit path to another place, it is movement. In this way, the records and compositions made by Ana Margarita Ramírez accept being interpreted as paintings where the expression of vitality is expressed through structure, chance and movement. She builds a story through the testimony of color that overflows as a sign and that is inscribed as a particular imprint of various forms of connection: an emotional trace of the sensitive moment, a trace of a particular flow of energy, of a circular movement that becomes the order to disorder and from disorder to order.

In each of her proposals the transparency of her pictorial story is surprising. Each proposal makes explicit the surprise, the chance, the enjoyment of the plastic fact. When referring to pictorial matter, Ramírez describes them as skins, as bodies impregnated with vitality. For her, each fragment is the result of a breach, they are bodies that are loaded with meanings and whose skin unfolds as the setting for a new text, articulated by a language that lacks letters, words, but that is shown as a sign of almost purity, as a display of an experience that makes creation and artistic practice the path to be traveled.

This transparency in her speech we can also perceive in the need to show the proper atmosphere of the workshop. The space of creation as a laboratory of experiences, as a setting for the articulation of creative discourse. The materials of the workshop, the overflows of the workshop, the waste from the workshop, the context of creation are shown as vestiges of the complex adventure that the practice of the artist supposes as experience.
In this way, the creation workshop imposes a method that consolidates the density of artistic discourse, it is also a space for learning, for the configuration of a climate that induces the adventures and circumstances that allow creation. In the case of Ana Margarita Ramírez, the experience offered by the workshop is fundamental and she incorporates it into her proposal as a matter of aesthetic elaboration.

There is, then, an exercise in self-reflection of the practice of artistic creation itself. She discovers and reveals the creative act as evidence; she reveals her vestiges, her remains; shows its residual and marginal nature, she moves around the edges of artistic practices experimenting on the ideas and experiences that remain in the small story of the masking of the fabric, of the paint that splashes on the floor, of the pigment residues that they run along the outer edge of the cans. We insist, her paintings are chromatic palimpsestos whose graphics interweave a history of the small, of the other, of the wounds that heal, of the memory that overcomes oblivion, of the fragile discarded whose pictorial imprint recovers as a gesture to make it protagonist of a new sensitive story. There the sublime of her work, to make of the tearing, of the marginal, of the small, of the fragile, a poetic act inscribed as a pictorial trace that becomes in new forms, textures and harmonies.