Las vueltas de la vida Painting

I have known Olga Armand Ugon for a few years. I've seen her painting. Actually, I have seen her enjoy painting; I have seen her suffer while painting; in short, I have verified her creativity in action and I am happy to say that she belongs to that group of people who think, reflect and express themselves by doing. She saw then, the need for expansion as one of the characteristics of her work. Medium and large surfaces always suited her work better than small ones. In the latter, she would feel constricted, suffocated. Her painting should give way to his ample gesture, although, as she controls proportions very well, she also allows space on her paintings for small pictures and stains. This amplitude could be applied, in another sense, to her chromatic subject, which goes from liquid to dense and lumpy. The restless spirit of Olga Armand Ugon cannot be comfortable imposing limits, thus, the painting surface is a witness of the struggle to organize these expansive and free impulses. We could say that her personality needs to be reflected still in how she works with the coloring, since she has to move also between the random (blasting, broad strokes) and position, size, color, of them in the basic plane, because that control would integrate them into a structure, that of the image. It goes without saying that her concept of structure accepts relatively randomness as one of its components. As in her personality, forms and matter struggle between a liberating impulse and a sense of order. The collage, linked to the pictorial subject and the linear drawing of the drawing was the appropriate vehicle for her rich expressive display. Despite what has been said, her spontaneity accepts stratifications. Each layer can have distribution of shapes, colors and signs different than the one that follows it. However, it is either translucent (veiling) or partially covers the preceding layer, generating in that appearance new forms, new graphics or signs. It would be appropriate then, when we refer to the works that apply that procedure, to speak of real palimpsests. The whole of her work uses a sensitive geometry, both in the limits of its forms as well as in the surfaces they limit. In any case, this geometry appears in the organization of forms in the basic plane. There. always with freedom, she manages notions of rhythm and proportion. Many of her works use white glazes, which give them a neat transparency.