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Juan Heiblum

Oct 11, 2024

Duatropical Garden

When we enter Magali Ávila's duatrophic garden, we are immediately met with the surprise of the unknown. A garden that takes us away from chaos, that finds no foothold in our imagination, which even had to be named under a nonexistent syntagma: duatrophic. Could it be that the limits of our language are the limits of our representation? In any case, Magali Ávila continues to expand this garden, cultivating a force that grows from the most intimate.

It is interesting that the artist works in series of paintings. On this occasion, the 10 paintings form a body of work that coincides in process and form. Her obsession with blue continues to reflect that “inner territory” that acts as a space of life. I insist on the notion of “garden” to think about the iconographic contrast. Ultimately, what garden is named in blue? It is precisely here that we find the cessation of the binary semiotics of language.

We traverse this series as the body of a single work that remains strongly tied to the material force of the painting. The figurative-abstract dichotomy no longer tells us anything. Magali Ávila goes beyond. If Cy Twombly demonstrated that abstract art could be made after Pollock, I believe Magali Ávila reminds us that we can create something after Cy Twombly. Joy and life as a pattern that deterritorializes the body of action and turns the canvas into pure living scenery, palpable, thirsty for a movement that arises from the spectator.

Juan Heiblum

Rome, 2024.

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