reviews
vladimir
garcía morales
The series Pianos (2004) from the young Belgian artist Judith Schils (Tongeren,
1971) is a marvel of dynamism and a magisterial demonstration of
draughtsmanship,
that reaches the pinnacle of what can be achieved in this art,
unjustifiably considered as a minor art and normally looked down upon as
a mere, more or less interesting draft of a more ambitious painting. In
this series of series of eighteen drawings, Schils achieves what is most
difficult: reaching the kernel of music through the use of some mere
traces. Of course, we hear no notes resounding from these lines (only a
magician, of which the artist is only a mere reflection would be
able to work that wonder), but the mastery and the profound
understanding of the expressive character of the line and its nature,
through a gradation that leads from the solitary line against a white
background to the fierce intensity that ends up in bundles or merges in
stains, succeed in worming a secret out of music: its visual projection.
The compositor Dieter Schnebel explored the relations between the visual
and the audible in his work "Musik zum Lesen" (1978), through the
capacity of musical notation to suggest music. Very different - and much
more artistic - is the path of Schils, that departs from the physical
representation of the piano (and not from the more obvious musical
signs, nor from "musical typography' like Schnebel) with the same
objective. The secret lies in movement, in the rhythm evoked by the line
and its conglomerates. As if the imprint of the movement of a pianist
would remain in the air after a memorable concert. Or, better still, as
if the piano would lead its own life, showing, in some of the paintings,
the intimate and withdrawn character
of its resounding, and, in others (in the last ones), its orchestral
grandeur. We cannot but be reminded of the delicate sound of a Mozart or
a Schubert (say, his Impromptus nº3, Op. 90) in the beginning of the
series, until, over Chopin, we arrive at Beethoven, Liszt, Ligeti or Messiaen
in the last ones. Those diverse kinds of music, or the musical character
which underlies them, are conjured up through the line, the perspective
and the deformation of the keyboard. In her work, Schils is a heir to Kandinsky
(the musicality of the line) and to Bacon (the expressive intensity of
deformation). With his usual rigor and intelligence, Stefan Beyst has
written a referential text to this magnificent work.
Vladimir García Morales in 'Avanzando',
10/10/2006
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