vistas 5 y 6 díptico Painting

The painting of Claudia Esqueda lend themselves to symbolic interpretation to the habitual reading o fan abstract painting. In this perspectiva , it is important to apreciate the movements, the re-composition the white shadow projected on a "background" formed by streams of colour, the organization of which, obviously, cannot be understood of a complete process but as an individual movement and, more carefully, as a movement determined by an invisible process. In this way the elements, underline whith their position and temporary relationship a condition, which intesifies the paradox of art: it is about fixing an insant that does not exist by itself, but in a continuity the diferentiation of which can be relizedonly though abstractions. Every time the artist experiments, she ignagurates an unrepeatable moment whith recurring elements. In this case, it is correct to say that the longest continuous and sinuous ones (that become horizontal as soon as they can), are sitll seen as basic signes of the code that later will dissolve itself: the closed or semiclosed unity opposes the extended continuity. That is going by and what has already gone: time. The colors of Claudia Esqueda are here more limited: they have the nuances of meditation and elegy. And since this way to see is a tendency of thouhg, it is inevitable to think in the ancient carpe diem, the flowers defolieted by the wind, the lotus in the river, the bodies in the calender and other related topics.   But it is not pertinent to remain with only this interpretation. There is a subtle work of gestural appropriation. In paintings with similar ímpetus, painters do not resist the craggy temptation to mark their hand, work with the fingers or add some objets in the paintings. This artist does not do it because she has to mantain the painting habitable. Marking it with so much exclusivity perhaps would not mean a step forward in her profound introspection and yet it would marginalize the artwork toward the auto-celebration or the confesión. Here the contrast between closed shapes and open lines acquires a different meaning: the capsule of the self in the continuum of feelings. That turns itself into a pleasant alternative route trough the rapids and estuaries of time. The Fac.