(Siem)pre Painting

In 1975 I started experimenting with different techniques of painting. Since 1999 I am painting with acryl on canvas using spatulas, trowels and wipers as instruments. During the painting process I am developing my individual expression of emotional energy in a dialogue with colours, shapes and structures. This procedure happens by an intuitive interaction between internal dynamic and abstraction in the external expression. My work is situated in the temporal space of abstract expressionism, in my formation and apprenticeship I integrate and transform the teachings of Marc Chagall, Jasper Johns, Karl Otto Götz, Fernando Zóbel, Jackson Pollock, Helen Frankenthaler, Anselm Kiefer, Jean Miotte or Gerhard Richter, my painting contains references and subliminal complicities with some of these great artists. I feel a special admiration for the work of Jackson Pollock - the artist who has opened the doors to unlimited freedom in plastic arts, genuine representative of abstract expressionism. In my present phase, I do not tackle large dimension surfaces or go further than the limits of the scheme, but without any doubt, my paintings are gestural, they breath amplitude including those of smaller format, and allow the perception of a more extensive movement, the unfolding of the arm and the implication of the entire body in the gesture of painting. Paintbrushes are not my most usual tools; normally I am using tools such as rubber floats, spatulas and palettes, which confer to the canvases slight reliefs over the superimposition of levels suspended in space. "Acrylic paint, non-conventional tools, gesture and abstraction; objectively we have available these data, but what happens in the Elisa Schaar’s paintings? A look around a gallery with works of this artist can be similar to astral travel with nuclei of fire, luminous feathers, refined strokes, radiant spirals or stardust; it can also be a journey through wetlands, areas impregnated with water and aquatic vegetation, bathed in silence into which an unexpected impact of colour can burst. In both cases we are in the domain of the subjectivity that the spectator can claim as a fundamental right, since his/her role is to observe and permit the pictorial work to speak for itself.