Each instance or season of these nocturns, a fruitful and blossoming garden that Silvia Rubinson creates with true morphological passion and perfect balance between expression and restraint, shows a remarkable degree of familiarity with each other, but at the same time it presents features that make it noticeably different. This trait, mimetic and distinctive at the same time, awards Rubinson's work an essay-like character, like variations on a theme. This, in turn, leads us to wonder what the real theme is, knowing full well that the artist has always followed and thoroughly explored a non-representative language. Everything here takes place in the limitless, measureless terrain of metaphors, of allusion, of poetry triggered by the evolution and development of a line that takes shape only to lose it, that gets tangled up, expands, contracts, multiplies, gets subdivided, comes together to become a curl, a lock, a scribble or wild skein, and presents itself as a phenomenon seeking to convince us of its ease, of its autonomous nature.
The astonishing fertility of the designs, looming in the welcoming darkness of the chosen support, with the prodigality of a stream of chromatic fireflies, stands out with spontaneity, as if this were an event as impersonal as clouds or forests, or at least not stemming from any clear or tempered hierarchy, or any conscious or formative decision. At the same time, a sort of programmatic elegance, a certain deliberately delayed, sensual lassitude of the algae, which float as iridescent undulations in the tempting abyss of the inverted sky offered by these intoxicating pools of water, reveals a sagacious outlook and a harmonic willpower behind the majestic camouflage. Within the organic intimacy of these rare species of amphibious botanical elements, from which water or earth manifestations emerge like hybrid pseudopods within cosmic weeds, lurks the emotional awareness and the interrogative and experiential spirit of an artist who has built a systematic palette of polyrhythmic actions and underground structural rigor, vertiginous detail and baroque proliferation, with the electric inventiveness of a landscape trickster and the movement control of an acrobat of gesture and line.
Eduardo Stupía
August 2018