Petra - shadow Print

The soaring. vertical formats of the canvases seem to express the expectation for something to come. The image of the city seen at the mouth of the gorge must be impressive. The facades of temples and tombs modeled on Greek, Egyptian and Mesopotamian architecture emerge from the curtain of the walls. When viewed in reds, ochres and violets, they become a mirage waving in the air, a desert mirage. In the feast of stains made with paste and glaze, we recognise the shapes of urban layouts, just like tourists find traces of human interference in the rocks. The abandoned city, disturbed by earthquakes, seems to be stopped in the process of being released from the stone. This may have inspired the author to detail the technological aspect of the paintings. In three collages from Petra, breaking out of the balck passe-partout, we can see colourful, almost abstract formations. The consistency of the paint emphasises the grammage of the canvases, their weave and jagged edges. The emphasised physical nature and roughness of the canvases contrast with the lightness of the vision filled with the light. This reflects the character of the Nabataean capital, real, carved in sandstone, fantastic, fiery and glass blue. The tilted perspective seems to be the point of view of a bewildered tourist, cocking her head. The painting “Treasury at Dusk” shows the famous facade seen differently, from above, in a small scale.