 | In the Protest series, Coqui Calderon relives the political crisis which darkened Panama. In "Seria Protesta #3" (IV), the landscape is divided into two planes, the upper, a contrast of brilliant greens and blues, whose pyramidal form carries an explosion of lights into the infinite, as a promise of hope. In the lower portion one sees, in a dramatic movement of somber tones, the rebellious figures of subjugated men, whose liberty is reduced by the oppressive force of the landscape.
 |
IV - Seria Protesta #3 (Protest series #3)
Acrylic 30" x 30"
1986
Bancolat Panama Collection
|
 |
V - La Gran Batalla (The Great Battle)
Acrylic 46" x 96"
1989
Artist's Collection
|
This is the moment in which Coqui Calderon achieves the aesthetic expression of a social and critical motif, together with its philosophical transcendence. These works earmark a masterly phase of her production in which she explores philosophical quests into life and death, man and his limitations. Thus, in "La Gran Batalla" (V), rhythmically repeated curved white lines suggest a "crescendo" of movement which overcomes the heavy cylinders of gray circles that try to contain the vibrant human force. It is the affirmation of the artist in the validity of human action, likewise observed in "Sin Salida" (VI), where the moving white brush strokes form a road, ending in a heavy square, limiting the repeated efforts of humanity, and yet, the rising landscape opens itself into skies of dynamic lines and brilliant blues, as a promise of reward for these efforts.
 |
VI - Sin Salida (Dead End)
Acrylic 60" x 70"
1989
Private Collection
|
 |
VII - Abriendo el Camino / The Welcome (Opening the Road / The Welcome)
Acrylic 40" x 60"
1988
Private Collection
|
 |
VIII - Sombras...Siembras (Shadows...Plantings)
Acrylic 62" x 56"
1991
Artistís Collection
|
In "The Welcome" (VII) and in "Sombras" (VIII), this theme is more deeply explored. In the first still shows representational accents, and the second suggest an abstract landscape where poetical shafts lead from the temporal to the infinite, from the earthly to the transcendental. With the sophisticated portrayal of a multitude, represented by curved white lines in "The Welcome", or with the repetition of yellow and blue lines in "Sombras", the artist carries the spectator, on fleeing lines, towards infinity, as promised by lights and colors.
|
