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Exhibition Reviews

Impresiones y Expresiones
[Impressions and Expressions]
Galera Rafael Garca, Madrid (Spain)
January 22March 28, 1998

Habla de lo ms interior de su experiencia, con la misma


autoridad de sus imgenes, porque en sus imgenes est
presente la firmeza del grabado que sirve de estructura a los
sucesos que su imaginacin y su memoria del tiempo y de
la luz, van depositando sobre la superficie de sus exquisitos
papeles indio, chiri, sekuchu [sic], kochi.
Habla tambin con nimo viajero, descubridor tanto de las
imgenes de un bosque quemado, como de un atardecer o
del viento, imgenes que transcriben su conocimiento de lo
terrenal que la es necesario y urgente comunicar. Nos referimos a Yolanda del Riego, espaola nacida en la Repblica
Dominicana en 1943. Utiliza el papel artesanal como soporte
porque le interesa la variabilidad de sus superficies y su densidad, lo que le permite avivar su imaginacin tcnica, como
ayudndole a realizar con eficacia cuantas manipulaciones
ejerce sobre las hojas.
Lo ms seductor de su obra es ver cmo todos estos pasos
tcnicos aparentemente exteriores se fusionan literalmente
en el proceso, de tal manera que lo dibujado se interioriza en el papel, gracias a su carcter lquido, y deja de ser
soporte de las imgenes para volverse l mismo imagen
abstracta.
A. CASTAO
ABC Cultural, 6 de febrero de 1998 (p. 34)
http://hemeroteca.abc.es/nav/Navigate.exe/hemeroteca/madrid/cultural/1998/02/06/034.html

ENGLISH TRANSLATION
She speaks from the depths of her experience with the same authority of her images, because in her images exists the steadfastness of printmaking that serves as a structure for the ideas that her imagination, and her memory of time and of light, leave on the
surface of her exquisite papers india, chiri, sekuchu [sic], kochi [sic].
She also speaks with a spirit of adventure, discoverer of images whether of a scorched forest, a sunset, or the wind images that
transcribe her earthly knowledge that is both necessary and and urgent for her to communicate. We are referring to Yolanda del
Riego, Spanish, born in the Dominican Republic in 1943. She uses handmade paper as a support because of its density and the
variability of its surfaces, which fuel her technical imagination by enabling her to extensively manipulate the sheets.
The most seductive aspect of her work is to see how all these apparently external technical steps are literally fused together in the
process, in such a way that what is drawn is internalized on the paper which, thanks to its fluid nature, ceases to be a support for the
images and becomes the abstract image itself.

Yolanda del Riego: la radiografa del paisaje


El Punto de las Artes
30 de enero al 5 de febrero de 1998
Se nos ensea a ver la pintura y, al pintor, tambin el natural
desde lo general hacia lo particular: miramos el conjunto de un
cuadro, somos sensibles a aquello que emana del conjunto,
analizamos las lneas maestras de la composicin y, luego,
nos acercamos para saborear los detalles, las pinceladas y
texturas. Se nos recomienda incluso, que no nos perdamos en
esos detalles; el propio pintor, el pintor moderno, tiende a no
prestarles demasiada atencin (y, desde luego, se le ensea
a pintar del mismo modo). Pues bien: estos conceptos o
preceptos aparecen negados en la obra infinitamente compleja de Yolanda del Riego, una obra que a menudo empieza
a existir slo cuando uno se acerca a ella y que, en todos los
casos, guarda la mejor de s misma para el que se pierde en
sus entresijos. Pues de perderse se trata, del asombro que
produce el encontrar siempre una nueva imagen, una nueva
capa de imgenes bajo la anterior, una nueva posibilidad de
interpretacin. Yolanda del Riego, que se form en los Estados
Unidos y vivi en Alaska, becada por el Visual Arts Center,
durante seis aos, siente el paisaje (que es el tema central
de su exposicin) de un modo muy especial. En Alaska toma
contacto, adems de con la naturaleza, con un pequeo grupo
de artistas entre los que se encuentra un grabador japons que
cultiva las tcnicas tradicionales de la estampa nipona. De ah
el dominio de que hace gala nuestra artista de las tcnicas del
grabado, que ella aplica a la pintura de un modo sorprendente;
de ah, tambin, ese empleo exclusivo de papeles japoneses
de todo tipo (Sekishu, Kita kata, Natsum, Chiri, Kochi...son
algunos de sus curiosos nombres) hechos a mano, papeles

extraordinariamente resistentes que ella somete a todo tipo de


tratamientos: arrugas, frottagey gofrados que enriquecen an
ms unas imgenes en cuya elaboracin concurren adems
numerosas tcnicas de estampacin (aguafuerte, collagraph,
resina barniz blando...). Tintas, acuarelas, collages aportan el
color: un color denso que, como decamos al principio, encierra
en su interior opaco la infinitud del paisaje y, desde luego, la
eterna pregunta: hemos de ver en el mundo la suma de infinitos tomos, o un gran conjunto hecho de partes insignificatnes?

ENGLISH TRANSLATION
We are taught to see painting and naturally, the painter too from the general to the specific: we look at a painting as a whole, we
are sensitive to that which emanates from the whole, we analyze the main features of the composition and then, we move closer to
savor its details, brushstrokes and textures. We are even advised not to lose ourselves in those details; the artist themselves, the
modern artists, tend to not pay much attention to them either (and, of course, they are taught to paint the same way). Well, these
concepts or tenets appear negated in the infinitely complex work of Yolanda del Riego, a work that often comes into existence
only when one approaches it and that, in all cases, keeps the best of itself for those that lose themselves in its intricacies. And losing
oneself is what its all about, of the wonder brought about by always finding a new image, a new layer of images under the last
image, a new possibility of interpretation. Yolanda del Riego, who was trained in the United States and lived in Alaska where she
was as a member artist of the Visual Arts Center for six years, experiences landscapes (the central theme of her exhibition) in a
very special way. It was in Alaska where she came into contact, not only with nature but also, with a small group of artists including
a Japanese printmaker who cultivated the traditional techniques of Japanese printmaking. Hence the mastery shown by our artist
in printmaking techniques, which she applies to painting in a surprising way; hence, too, her exclusive use of handmade Japanese
papers of all kinds (Sekishu, Kita kata, Natsum, Chiri, Kochi...are some of their interesting names), extremely resistant papers which
she subjects to all sorts of treatments: wrinkling, frottage, embossing that further enrich images elaborated through numerous
printmaking techniques (etching, collagraph, aquatint). Inks, watercolors, collages all provide color: a dense color, as we said at the
beginning, that encloses in its opaque interior the infinity of the landscape and, of course, the eternal question: are we to see in the
world the sum of infinite atoms, or a large whole made from insignificant parts?