Sunday, 19 January 2014


"Nonetheless, almost all  of her photographs are charged with warm tones; a frecuenntly impulsive sensuality with clearly romantic undercurrents that lead to her to propose drastic alternatives, vacillating between passion and cool distance. She insists on aproaching her portraits in extreme closeups, but so close that the detail becomes blurred and perception modified. This effect lead us to compare her works with the portrait series "Reserves" by Boltanksi, or Barbara Essand and Cindy Sherman, María José Gómez Redondo shares a love for emotional settings, although Redondo opts for more internalized, less Theatrical formulas, and even for viewing some of her series thought dream-like eye.

It would be wise, however, to avoid the surrealist temptation of referring to the onioric. Although Redondo likes contrats,  superimpositions and images that would make more than one surrealist feel at home. And although she does elongate forms and figures producing effects similar to the "meltings"so typical of the Breton group, she contrast them against blue skies and filmy clouds, imposing an entirely different philosophy then the surrealist. Irony does not figure in Redondo's work. It is a much more transparent exercise where evocation of memory and an instinctive sensuality seem almost to vibrate. Perhaps because she appoached them from a view removed from time, a narrow reduction meant to restore mystery."
Miguel Fernández Cid

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