Background
Starting from the knowledge of the abstract movements of the beginning of the 20th century, passing through those of today and the extensive Latin American tradition, Hasper has achieved a syncretism with personal elements. In the paintings, the rupture with the patterns and the search for instability and imbalance of form are noted. Hasper boldly dislodges her geometries and owns her own style. She also believes in the saving power of beauty, and so she affirms: “I choose to locate myself in problematic and historically undervalued territories of art: the sphere of the decorative, the feminine, the primitive, the intuitive, an aesthetic-political position that it is expressed in my work in the exacerbated use of color. My painting can be reduced to color. I seek the true pleasure of pure color and lines, the search for beauty for its own sake, as an instance of joy and a means to overcome anguish”.
With this aesthetic capital he went out to explore the street, to paint murals in Miami and Puerto Madero, to mount site-specific works under the highway, in the Usina del Arte and the Buenos Aires subway. Meanwhile, in 2019, he presented one of the first immersive installations in Buenos Aires, at the enormous headquarters of the Santander Foundation. There, in a room colored by his paintings on the windows, the viewer walked among gigantic drops of colored acrylic. The same drops that today reappear in a brief watercolor. “In my work, color is the content support. The colors stimulate eye movement and sentimental movement”, explains Hasper, referring to the grace of the shower of colors that make up the drops.
In the introductory text, Lara Marmor observes that the volcanoes inaugurate a new stage in the work. And she points out: “Now it’s time for figuration, and with it the narrative aspect that emerges from this choice.”
Hasper avoids the term “figuration”, and although he acknowledges that the ceramics he has been making for a decade are called “volcanoes”, he adds that their spirit is abstract. Lara Marmor, for her part, links the volcanoes with the origin of the world and finds in the work a possible environmental message. The text is entitled: “The promise of the volcanoes.”
It is known, art is a river where the most diverse interpretations navigate. The stronger the memories evoked and the more diverse the meanings a work of art emits, the greater the artist’s potential to mobilize sensibility. While Marmor wonders: “Can Hasper’s volcanoes be part of a new story, the stimulus for the imagination that visualizes a future where the constructive forces are capable of displacing the destructive action of man by others that are kinder and more containing? ”; others associate these geological formations with passion. The volcano is the quintessential metaphor for the outbursts of passion, and with its magnetism it brings to mind “Stromboli”, the film by Roberto Rossellini with Ingrid Bergman that moved society at the time; or the hallucinated madness of “Under the Volcano”, Malcolm Lowry’s novel or, the desire through “The Volcano Lover”, by Susan Sontag. With its innocent appearance, Hasper pottery fits in the palm of a hand, but just see how the red color overflows like lava, to drag a tide of memories.
Source: Ambito
David William is a talented author who has made a name for himself in the world of writing. He is a professional author who writes on a wide range of topics, from general interest to opinion news. David is currently working as a writer at 24 hours worlds where he brings his unique perspective and in-depth research to his articles, making them both informative and engaging.
