The work is the account of a fragment and of a subjective story. Also, it is the telling of a concern, a wish and a thought. As Foucault once said, I write in order to change myself and not in order to continue thinking in the same way as I thought before. The art is an enigma, similar to the riddle that The Sphinx formulated to Oedipus. Besides, the art is the beginning of the search of a “Truth”.
This is a sufficient reason to tell a story in an aesthetic experience.
Gaby Grobo generates unnoticed signs and gestures of a landscape not only intimate but also definite, even though the structure emerges from the real. In her works, an active role of private stories in public spheres is acknowledged, reinforcing the concept of intimacy/ extimacy.
On the one hand, she reinforces the silence in a society invaded by the noise and by others. On the other hand, the skies presuppose a thunderous noise. The experience is physical but loaded with a strong psychic emotion.
The discourse which is supported by the reality of the rural landscape proposes a semantic reflection about the desolated, the reinvented and the theatrical spaces. The landscapes also refer to emotions, paths and real allegories that fuse in an intense dialogue with nature. The fusion is so strong that it creates a unique poetics on its own. Moreover, it manifests a language that emerges from the memory. In this way, she proposes a narrative that establishes references with the possible past and futures.
As in John Cage’s work “The perilous night”, in her pictorial proposals there is something disturbing that stalks an apparent calm and it can be perceived that something is about to happen. This tranquility announces the chaos that is coming, the complexity of the natural world that surrounds us.
It can be appreciated a human landscape but this time without humans which have left their track, the ghost.
A road movie that moves without stopping, the life of a traveler that freezes moments as if they were snapshots of not only life and history but also of memory and landscapes.
The endless horizontal alignment of the landscape, the vertical alignment of the wires, the fortissimas diagonals and the knots together with the mills organize their own alphabet.
In terms of her rituality, the richness and the certainty of a personal discourse are manifested. The belief of a long lasting present that will transcend us is immortalized. This will join the trace that the gaze will leave once and again.
Rainer Maria Rilke wrote that the beginning of a memory coincides with the effort that it takes to forget it. And in one way this is related to her work in the sense that the memory returns as a work of art with a childish flavor and with a gaze of a sunny afternoon. The movement and the stillness are a constant oxymoron that is observed in each of her works.
The treatment that she has done to the light reveals a twilight shame of low horizons and of roots that come out as wanting to emerge from the ground.
The colours are not only intense, but also energetic and contrasting. The movement of the short brush strokes is remarkable. They are so democratic that they reveal a gestural and a decisive treatment.
There exists a violent contrast between the obscure skies with shivering diagonals and the calm line of the horizon.
The names of each of her work arise a feeling that invites you to the journey. She lets herself go, where the dreams go. She is forced to leave. The night takes her in, while the light stabs the land..
