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Already in the 90's, Coqui Calderon's landcapes were revealing deeper and more personal subjects. In "Paisaje: Dos Senoras" (IX), the same technique of linear brush strokes is applied, but the color and luminosity of the composition is much stronger. The geometrical forms - figurative symbols - become studies of color and line in the function of movement. And the human figures - the two women - are depicted as sacred trees, and integrated with a luminous background. Here is the beginning of a new poetical phase in the paintings of Coqui Calderon. In "Diosa a Rayas"(X) she involves the spectator in a rational analytical exercise of lines, triangles, contrasting colors and lighting effects, all immersed in subjective intensity. It is a world of goddesses, angels that are drawn in the light and by the light are defined as the center of luminous triangles. In Diosa de las Aguas (XI), shadows, human forms and trees are expressed as movements, as flights toward boundless infinity.
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IX - Landscape: Dos Señoras (Two Matrons)
Acrylic 36" x 46"
1993
Private Collection
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X - Diosa a Rayas (Striped Goddess)
Acrylic 46" x 36"
1995
Private Collection
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XI - Diosa de las Aguas (Goddess of the Waters)
Acrylic 60" x 52"
1994
Artist's Collection
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XII - Transportada por una Mágica Manta del Dolor (Transported by a Magical Cloak of Pain)
Oil 44" x 42"
1997
Private Collection
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As of 1997, Coqui Calderon's composition becomes more complex. The relationship between landscapes and human figures is defined in more geometrical structures. They are compositions in which squares, as in "Transportada..." (XII), or semi-circles, as in "Presencia" (XIII), or even triangles, as in "Angel Atado" (XIV), or triangles in movement, as in" La Magica Manta..." (XV), or, finally, compact colored rectangles, as in " Fulgores Nocturnos" (XVI) trap and hold a stylized human figure, integrated perfectly in an abstract landscape. However, the conceptual and rational techniques in these paintings contrast with the circular rendering of the faces of these figures, in which the perfect circles speak of life, anguish, screams without answer - purely subjective values. Iridescent lines, like auras of light depicting hair, allow these figures, trapped in geometric forms to unite, contradictorily, with luminous heavens or infinity. And their exposed naked breasts and generous heart-shaped wombs create in the viewer a lyric acceptance of the limitation and contradiction of human life.
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XIII - Presencia (Presence)
Oil 60" x 54"
1998
Private Collection
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XIV - Angel Atado (Tied Angel)
Oil 44" x 46"
1994 |
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XV - La Mágica Manta en Grises (The Magical Cloak in Grays)
Oio 46" x 46"
1997
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XVI - Fulgores Nocturnos (Night Splendors)
Oil 32" x 44"
1999
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These paintings are, thematically speaking, radiant subjective affirmations of human values that Coqui Calderon reveals with restrained and sophisticated beauty. They are the uniting of the rational and the subjective which characterizes her entire work, ever loyal to her anguished explorations of human complexity, through the mysteries of light and movement. |
