Symbolism and Idealism in Esperanza Tielbaard’s Genre Painting
Painting is often the narration of a geographical context: the simplicity of the strokes, in an almost realistic way, easily and spontaneously proposes the dimension of a vital context.
In Esperanza Pazmiño Tielbaard this vision exists only as a reference, but proceeds in a context and in a representation that goes beyond the pure figurative dimension, both landscape and naturalistic. Vibrations are captured in the works of the Colombian artist which come from the tints and colors, outlined with decisive brushstrokes, and which maintain a side of evanescence, therefore immanence, of the images. The figures, outlined by the delicacy of the chromatic strokes, interpenetrate, in this we read a lot of Cubist heritage, almost merging into immense and penetrating expanses of gold, a rather particular color to treat, and which in the production of Esperanza is proposed with wisdom and maturity.
Nature becomes that "temple" that "man crosses through forests of symbols", taking up Baudelaire's courtly words, and is the main protagonist of a path, such as that
of Esperanza, which narrates Colombia, the native land and origin of the author, full of fascinating and evocative environments, such as to introduce us to that alphabet of signs that
they outline other, past stories that nourish the present in their narrative, almost mythological scope.
All this translates into a skilful aesthetics of evocation, i.e. in the desire for synthesis, imaginative as much as content, of ideas and symbols, strong signifiers of an idea that translates into the image, lyrical face of a rich production. It's a new expressionism
that of Esperanza, which is expressed in confident brushstrokes that lead to lyrical expressiveness through different technical dimensions, from acrylic to oil tempera, with shapes that are almost stylized, simple, very minimal, but full of concepts and messages.
Esperanza uses modern materials to best give the work that mystical aura that relies on a community's past, made up of icons and emblems that evoke a past. Nature is an integral part of Esperanza's artistic career to the point of becoming, not only a source of inspiration, but also the subject of a genre painting. From nature that kinetic dynamism makes its way, defined with different techniques and styles, eclecticism of the author, favoring that typical effect of a figurative painting in movement, a frame of a idealistic narrative sequence. The "whip" technique leads us to savor that passion and those emotions that led the artist to live from nature, paying to the latter an aesthetic, as well as symbolic, homage, with the awareness that from nature
we come and we live in nature, just as its people do, where every sign of the landscape and of the person become ancestral messages of a land, that great mother and, also, severe judge, rich in abundance, to be treated with parsimony and respect.
In all this fits into a pictorial literature of a production full of sensations and emotions, which transpire in a balanced and harmonious way from the figures of Esperanza's works, without ever invading the viewer's observation point.
Esperanza is certain of this, it becomes her expressive poetics, strong in the values and ideals that nourish her community of origin, her people, the Colombian one. The decision to use new materials, such as metallic acrylic, is functional in giving greater relevance, through the combinations, to an irrepressible creative energy, giving vision to a gaze, that of the artist, which turns to infinity, incisive how human.
In Esperanza we find different artistic cultures, as evidenced by the various awards that she has been able to receive internationally, in an eclecticism that is typical of a mature artist, but never satisfied with the point of production reached, in this the intelligence present in
of her production of her, and always inclined to new compositional panoramas, to new creative visions, to new techniques and poetics.
Between abstractionism, the exaltation of feelings occurs in the shades, in the chiaroscuro skills, in the interpenetration of traces and figures that are evocative, and symbolism, where significants are brought to chromatic structures of great experimentation; between landscape painting, the environment where the story of a people is told, to expressionism, where a painting stands out that covers every corner, detail, part of which the painting is made up, expressing strong and incisive emotions: the work of Esperanza expounds that care, natural and not artificial, and attention towards every part of the work in its scope. Fantasy leads Esperanza's hand, so much so that she proposes images and ideal representations of a people, of a community, with people at the center, here, therefore, the almost humanistic characteristic of her production, their suffering or their expectations , their feelings and their memory, which is history and which is collective: all this you can taste in her production, which invades the picture and the canvas in all its portions, the totality of the expressiveness of her art, always guaranteeing a poetic margin, the gold in the nuances makes the portraits of the faces indefinite, and suggesting a almost evocative genre. Spontaneity is an expression of the lyric one which leads to the configuration of the work as an authoritative autonomous form.
They are the existence, the life, the contradictions of the individual that become images and become symbols of human realities that come from afar, as old as strongly real: the informal thus becomes a vision in the painting of Esperanza, an author of immeasurable creative energy, a manifestation, therefore poetry, of a chromatic riot, as delicate as it is evanescent, immanent and therefore vibrant, mobile, dynamic, almost giving movement to the representation, almost as if it were a frame, in an eternal reference and journey between fantasy and dream, between reality and symbol.
Dr. Alessandro Rizzo
Journalist and art critic
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