Lucrecia Pascual exhibits her latest work at the Cadaqués Casino, "For me, the place where I will exhibit is very important," she says. Indeed, it can be seen when he painted the paintings that she now exhibits. The author plays with triangles, preferably rectangles, emulating the sails of the small boats of an essentially fishing village. It continues, therefore, insisting on a sharp geometrical, but now gives in to the question of color and incorporates blues and whites, although without forgetting its already traditional ocher and gray, which reminds us of Lucrecia Pascual from previous exhibitions, in which She was clearly a partisan of a little color, fleeing from superfluous fanfare. Even so, it is clear how the Mediterranean light of Cadaqués has influenced the work of the Barcelona woman.

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Always faithful to the subtlety of color, this also allows her to work with transparencies, something that also makes us recognize the painter from other exhibitions. It is about the hint of the shapes as if she wanted to challenge the viewer by inviting them to glimpse a world of contours and volumes that can only be suggested as if a gauze flight covered some geometric shapes. And this is not all, but some of her work have led this concealment to paroxysm:

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She places one canvas on top of another, moving from the pictorial to the material, thus completely hiding what is behind. Again, he thus makes the viewer participate, shaking their curiosity in a much more corpulent composition that contrasts with the canvases in which the lightness of traditional candles prevails over a soft blue. And to all this are added diptychs and triptychs, in which he insists on a rigorous geometrism but which does not cease to be always experimental, doing and disengaging to study the forms.

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We find ourselves, therefore, with a painter who remains faithful to her line but without falling into the monotony of the repetition of motifs in series. And, thus, and without the need for frames ("they horrify me", he says) we see that Lucrecia Pascual, with the challenges mentioned above, is inciting us to "feel touched" by a painting that says a lot, and to accept that pictorial art is much more than rationalism.

Jorge Minchiotti Fabregas

July 2003