DREAMS FOR REALISM
If we understand the philosophy not only knowledge but wisdom, leads us to consider that what you do has to do with what they know. This is the case of Noa Persán, which through the lines of vision – called drawing – performs in each work a creative ideal unit to establish an idyllic encounter with the spectator.
In the mind of the Noa are introduced, through his dreams and wisdom, very penetrating radiation that acquire an alliance between reason and emotion provoking a magical realism.
Noa Persán lives not just imagining to paint the formal order but a harmony of parts to the whole. His works, in the composition or the distinction of party, enjoy a beauty sweet and exquisite to diversify the serpentine forms-"grace lines" -, light and color, i.e., parties that make up his works are subjects of a universe of creation such as music passages and paragraphs in writing.
The magical and fascinating game of Noa's footprint on the life of those who contemplate it.
Benjamin Santin Carballada Professor of drawing. Creative architect
ASYMMETRY HARMONICA
Subtle visual metaphors coexist in the canvases of Noa Persán; metaphors that bring closer it to a sui generis neo-surrealism. From a vigorously self-teaching technique and iconography, Noa made to denote that the original substrate of his work can be found in Japanese painting. His lyric fantasy, its dreamlike, indeterminate enclaves, cold and evenly arranged chromatism, austere and timeless neutral funds, do refer initially to the banner, Japanese gender to be arranged vertically. In it, contemplative landscapes, flowers, birds and human figures are combined as they blend the oil paintings of the artist Lugo.
However share more direct and recognizable with the Japanese picture analogies. Ukiyo-e transported oil. "Pictures of the floating world", transliterando of the Japanese language, is the concept that underlies ainhoa and that translates into background and form. The vacuum is here source origin sense, full and airy, almost mystical beauty. Sakuras, or the flowering of the cherry trees, static vegetations, figures ictioformes merging with naked female, Lunar poetics and animals slide with the simplicity of its forms, which follow the dictates of a solid drawing and not color, forming a decoration of sincere elegance.
Stopping look, emerges a zen bias, materialized in the importance of the emptiness, loneliness, or sabi, around the represented object, gravity and heaviness of the space that surrounds it, which does not exclude a wealth of evocative. Hence the interest in arrested gesture, coinciding with the idea of instant, as well as successful and original use of the settings and the distribution of space.
It is this pictorial language that does emerge the japonesque tradition, from French impressionism to modernism, Cubism, this enduring influence that Katsushiko Hokusai and popular paintings otsu – e have injected into Western art and Noa articulates with its personal syntax and plastic strength.
Manuel Marquez Crespo gallerist and art historian
THE ART OF FABULATION
View from a contemporary artistic image the Fables of Jean de la Fontaine is a challenge which it leaves more than airy Noa Persán this series of paintings inspired by the masterpiece of French literature who, in turn, baby classical sources from Aesop to Horacio and the tradition of Oriental tales.
But in addition fabulation is also a creative resource that the artist often used. In its previous pictorial production reflects an intense world of dream influence with landscapes and motifs of Japanese style, sieved by fantasy, with a bold, imaginative and overflowing chromatic range that evokes in the image and how surreal features, understanding, such as Breton, the importance of freely moving elements of the dream to the world of art.
His work could be the maxim of the painter Felipe Criado when he theorizes about the passage of the subconscious cognitive to the plastic expressiveness through memory, but also a tendency to narrative discourse, metaphor or polysemy, which forwards the Viewer to several interpretations, always imaginative, because its iconic motifs bring us closer to the world of dreams with some recurring elements that give us the keys to these realities fictional or dream can be seen where fantasy is materialized through his paintings.
The plastic expression of selected Fables give rise to an artistic language that complements image and Word combining two disciplines (literature and art) that are shaking hands centuries with superb results not only in relation to the illustration.
The promising future of Noa Persán and the success of this show without question at all, so it would be only the epilogue to invite viewers to visit and contemplation.
Aurelia Balseiro García Museóloga and Director of the Provincial Museum of Lugo
THE GRAVEDIGGER OF WORDS
I can not I be stingy or wasting me in smoothies compliments with Noa Persán… that lady that miniaturized mercilessly their surnames constricting them after a name pronounced gasping as they do the tents when they removed them from the water. In this trance I must be honest, lucid and bold to judge critically without removing the rod or the SOAP… To speak your dreams!! Noa that is not Persia, no any samurai Japan, has mixed with rare fortune tormented fringes of his biography with hieratic spasms of ladies of Sumptuary and oriental beauty. She seeks utopia between skinny and stunted herons and approaching ranas-sapo which are fixed in a night pose under a moon bellied and poisonous. The ghost of freedom between bounds women dealing with their dreams of flying, and abyssal fish enramada on vegetable substance that Crown their heads between skeptical and insolent. Noa painting writes, and when that furrowed brow grows, Clench the teeth and the girl's innocent laughter, it becomes a close-minded women. He is artist without knowing it and against anyone far away that she's the viedo-performers or the stunned pasmones trapisondas doing philosophical tricks without philosopher's stone. The Lady of geisha-punk, or tartar disguises were no Mongols with circus bear slippers. Unwittingly she blurs is and stays out of the picture. Prudent and bold at the same time has come from face to face with the papelón sniper, but this female is missing its war… Which world! too many rubes in this fair walking Barriga-Verde dolls as if they invented gunpowder before the Chinese. She knows who is but still does not know what will be, yet you rush the flavor of the gall between the lips and accept the consequences of being an artist between disdain and a relentless discipline… Madam, artists there are ready, and the heap, fools of capirote, and more foxes to a bitch… Lady, plumbing and woodwork give less trouble and headaches to our well-beloved craft. Look at you until the cows are left better than art dealers and gallerists milking… But quality of our "Ministry" is seem to be stubborn, obstinate, and blind so that we know that the road is long and we will never arrive for shortcuts to Santiago de Compostela.
Paco Pestana sculptor
THE EXQUISITE
The exquisiteness is invariably companion of loneliness. Noa is exquisite, then there is in itself, and on it is his painting. Serenity, selection, sweet, balance and harmony and in short beauty and appeal. Their productions directed and orientalizan by filing the rugged trasusntos. Their motives carry a message of education, intentionally intimate, always indoors. There are detail, symbol, strand, the perfect canon, the proportion, the note of color, luminosity, keys and enigmas. Silence, listen to his work from the depth of your pupils…
José María Núñez Pérez delegate of the tax Lugo and President of the Association Holy Grail
LABYRINTH OF PASSION
Ainhoa dreams of paint and paint. Few days ago I shared stay in his Studio, to contemplate the last work to be presented at your next exhibition. Back were "mythical" landscapes taken up by memory from his extreme youth. Landscapes made under the symbolism of an iconography that still sow doubts and questions and that sure that the author struggle to reach the Viewer.
Estampas de O Caurel, reference of habitability for the painter, are topics that were very present in his work, where the color becomes owner of its geography and drawing reaffirms its idiosyncrasies.
After referencing this earlier stage when figuration was protagonist in the symbolism of the landscape, the palette and the tools of the artist place us in a new company in its beginning of exploitation.
Color not already plays a role as descriptive, however, these new works displayed what is really as undisputed quality in the Noa, drawing painting. Figure and portrait, referenced under "ISM" surreal, all those guesses that reside inside and you want to bring to light, to involve the viewer of these remoras that are interfering with your space.
The tonality of his work becomes monochromatic and soft; Blue, green, Earth, ochre… a Symphony of ranges that make the work, honestly raised, to win in plasticity and beauty.
I have visually tour all parts and I have come to the conclusion of the dream approach that exist in each one of them, approach fair to get to the truth, to make this voyage, that imaginary world, dogma of ethics and dignity, where surrealism takes you and makes you a participant of its dreams and its miseries.
Ainhoa, finally, dares to enter the labyrinth where his passion for painting leads it along the path of truth, with the difficulties inherent in this route. We hope that you find the exit.
Xoán M. Guerreiro Vazquez painter
FABULONIRIAS NOA PERSAN
As La Fontaine was inspired by the Decameron of Boccaccio to create his witty Fables, Noa Persán resumes as a source to French to create a series of tables that become evocative moralizing scenes for the Viewer, full of visual illusions and trompe l'oeil to the intellect. Images, strongly articulated through color, take us to the world of dreams but without forgetting a strong grounds given as examples, partly malicious and sometimes comic. The observation and study of the natural is evident in the representation of animals whose bodies we feel to caress. The author reveals them in the foreground with an undeniable presence, trimmed on neutral backgrounds, giving them certain monumentality, that own portraits. Counting eyes of these beings antropomorfizan them to stopping the scene, as if it were "still alive". This contrasts with an atmosphere artfully constructed by an unreal and dyed, lighting usually, per a pallet cold colors, whose support is none other than drawing.
But cited neutral funds, on which Noa silhouettes scenes, are not flat but rather ethereal, so allow the eye of the viewer focus on what, ultimately, she wants we transmit: a vigorous criticism of the political class which subjugates and disfavor to your whim. Nor should we forget that the analysis of the Fables is not complete without the title that glossing them. Each heading leads his personal vision of the account selected, extrapolating their contents to the reality that surrounds us and that, with great narrative wit, puts the climax to own pictorial acuity of his works.
In this thematic series of oil paintings Noa Persán does not abandon one of the constants of his young but solid career: a taste for oriental. Nature is based on the basis of a fleshy vegetation, with calligraphic precision, which connects with the rigor of the line itself in the world of illustration. The Moon is another of its common places, source of energy, catalyst of a pagan religion, which rescues via a thin cord to the homeless, captive subjects of the incongruity of a rotten system.
I cannot end this analysis without referring to the thoroughness with which this painter applies the technique of oil. Your Bill is homogeneous with large areas of the same colour that emphasize its affiliation with the procedures of graphic design. But this resource is interrupted occasionally by areas of thin glazes that animate the pictorial surface rightly contrasting it with other specific areas of dabbed strokes originating, in this way, subtle relief that constitute the counterpoint of sense of flatness concerning while counteracting with a delicate the dominance of the figurative abstraction.
Gem Balado Pumariño graduated in history of art and head of art and more S. L.
SAKURA II
"Nous sommes heureux to Mme Noa PERSAN ait participated à l'exposition" Artistes du Pays Basque "in janvier-Février 2008, au Musée Asiatica." Le jury lui a attribué le premier prix de peinture pour a portrait "Sakura II" qui reflet while the Sérénité asiatique à travers peinture occidentale.
Le jury du Musée Asiatica to felt in cette jeune artiste a talent exceptionnel pour donner une âme à ses oeuvres. Il est certain qu'il ' avec encore plus de maturité, cette artiste will celebrated.
Michel Postel Président de l'Association du Musée Asiatica
ODE TO THE PRINCESS SPOTTED ARCO IRIS
Ride the Muse through a hole in sea full of smile, the path that opens in the waters the horse of his delight, for so many things that bring joy Suns. Sand Castle for a Princess stained with the colors of the Rainbow, larva that came to the world between the silks of a storm in the last course of heaven, doll that gallops after the horizons of paper and wet sand. Kisses dropped, spilled on the hills from other kingdoms of little clean, stained, rogue boots jewelry lust perhaps. Land and sea horses horses of dreams and mysteries, take it to the star where it grows solitary flower remedies, which invades the innocence and runs the blood, drop by drop, vein to vein, beat-to-beat, to make it a sigh, a fiercely human scent.
Lomarti multidisciplinary artist
