Te vio partir Painting

Everything which must be looked at from afar, adopts divine features, far from the capacities of human creation: the ocean, a snowed mountain, the façade of a church, a town upon a mountain. As we come closer, the physical distance that becomes smaller and ever so more dense, slowly and so wonderfully begins to unravel itself: not only are we at the ocean, mountain, in the town but with them as well. And there we understand them. Love, like other things, works this way. Barbara Low´s paintings cannot be looked at from far away. They should be seen very close by, with the intimacy of a whisper to the ear, with the nose breathing close to the oil traces, the eyes impregnated with the clear trace of the paintbrush. Why? Simply because her paintings are not open windows to the world, they aren’t big mirrors either, but deep, very deep boxes, where she keeps her most sincere expressions and memories. Maybe that’s why she doesn’t have landscapes within her work. In this series, Low chose to keep faces of women, feminine contorted bodies and fleeting gestures, sometimes imperceptible, but which were observed by her eyes, carefully: all of which are captured and strained within the rectangular limits of the painting, without leaving an open surrounding space to let them breath. As if all of them were locked within these narrow boxes, where the color black and the colorful blurred background is a deep and immeasurable space. This is why the characters here are palpable; her painting is tactile, almost sculptural and the figures seem to want to escape out of the cries of confinement. It´s our task to approach them closely, to save them, to love them, knowing that we run the delicious danger of falling into this box forever.