Calentador de aire Painting

Thermal sensation Series of oil paintings by Monika Gabrys for the City Museum of Merida Living in peaceful conditions and having mostly unrestricted opportunities to advance our work comes with a price. Above 40 degrees Celsius with thermal sensation exceeding 50. A human body has adapting abilities since time immemorial. The adaptation is perhaps one of those virtues that have guaranteed our survival, even when responsibility for those conditions is the product of our own decisions.. Monika Gabrys is a Mexican artist of Polish descent, who grew up in a country of harsh and snowy winters. She arrived in Mexico 13 years ago to start a family and begin the process of adaptation that has led her to a unique integration with the dynamic art world in Yucatan. As a "Pilgrim" in our City. Her works undoubtedly display rigorous academic training. Which is apparent in the professional use of the artistic materials, but also in the seriousness with which she approaches each of her artistic projects and the various ways in which she commits herself to the artistic guild and the society of the city of Merida. In this series of paintings we can witness a journey from a selection of greyish colors (European) with colorful tints that are stirred to be released as a result of the clash of cultures, towards a rescue raft in the midst of embarrassment. We can read hours of experimenting strategies to survive the heat, described in her canvases with increasingly colder colors, as sharing the excitement of the fan from her last shelter to live, resting in the coldness of a floor accompanied by her cat, which by some clever intuition lazily spreads on the floor where the fresh air can be breath. From there the artist reaches out to describe her world and her circumstance, which, despite being always plagued with complexities, seems to be reduced, at this time, only to the fight against extreme heat. The ideas are diluted, we could almost see them melting like the candle under the rigor of the flame. There is no room for complex explanations or theoretical frameworks for conceptualizing the work. This time it is a genuine response to one of the ways artists give way to their need to create, propping up the emotional over intellectual, and what can be more emotional than crawling to work when it is above 40 degrees? (Jose Luis Rumbo)