In Golubinsky’s work we find the result of a slow internal process, related to her critical attitude, even of herself, a criticism that does not neglect humor and irony. Apparently, his drawing refers to that of an infant, schematic, but a careful look will discover differences between the beings that populate his paintings through their gestures, grimaces of joy, pain, mockery, disappointment, subtle lines , the intense work of pastel on linen, one of the artist’s favorite techniques, the clustered position of the characters, sometimes in free fall, defying the law of gravity.
In these two years of pandemic, Liliana Golubinsky has worked hard. Her result can currently be seen in “La que mira”, a very significant title of her show at Galería Rubbers Internacional, to whose staff of artists she belongs, and which alludes to her power of observation already mentioned. As usual in her, several techniques coexist: pastel, oil, charcoal, watercolor. But this time there are some changes: fewer characters, gaps that undoubtedly have to do with the existential vacuum that has become global, perhaps in allusion to what the great thinker of Greek nationalized French origin, Cornelius Castoriadis (1922-1997) called “Societies in which a total emptiness of meaning reigns”, the titles in accordance with the effect of the pandemic, for example, “Social distance”, “The sea of lies”, “Fierce nature”, “What was lost”: an installation at the foot of a painting with the remains of a blue and white crockery that was broken during the quarantine.
As for the chromaticism, there is an abundance of blues that evoke the sea, the one that perhaps he could not see during the confinement and that for the first time is exempt from the human figure. A blue, present in several works with different gradations and that produces, like all colors, a purely physical effect, as Kandinsky maintained, who described it as “cold”, but which in turn “calls man towards infinity, towards a supernatural depth and peace. (Closing on May 9, Alvear 1640, PB.).
Source: Ambito
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