Vicenta Valenciano

Liquid Painting

Liquid painting is born from the necessity to express the new characteristics of modern society.  Strongly influenced by the idea of liquid modernity, which describes our modernity as having moved from a "solid" to a "liquid" phase, my paintings have lost any "solidity" by loosing any kind of support, hence there's no canvas, wood, paper or anything at all. The work is free to adapt to any shape, or can just be hung on its own. The back of the painting is exposed, showing the initial drawing and the first brush strokes. Read more...

the fragmentation of the self



l'hémorragie du signe
on the sea


disintegration of solides
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About liquid painting

  I am deeply inspired by society and it is often the subject of my works. My research brought me to a transformation of painting resonating with our time. Since 2009, I have been working on this transformation which I call “Liquid Painting”. It is strongly influenced by Zygmunt Bauman’s concept of Liquid Modernity who describes the metamorphosis of society going from a solid to a liquid phase, characterized by constant change.  Men and women have lost their solid points of reference and have to become more and more adaptable to circumstances that change faster and faster, hence they have to become fluid.

   In the same way, my paintings have lost the part that could give them any solidity, i.e.: the support.  Thus, there is no canvas, wood, paper or any other type of material that could keep the painting in shape.  The back of the painting is exposed, revealing the initial drawing and the first brush strokes, while the front of the painting shows the final work as for a traditional painting.  The work is free to adapt to any shape over which it rests or it can just hang by its own weight.

   This totally changes the way to view a painting; detached from its universe, the painting jumps up a dimensional level to become a three dimensional object without leaving its condition of image, the object-image, troubles the conceptual limits in a universe of surfaces.  Emancipated from its frame, the Liquid Painting also represents the vulgar temporality of the instant, fixing our society’s inert present of a continuous of flashes in which we live.

   It is easy to think that the image is reversible, but it is not. The image in Liquid Painting is in two different states simultaneously like the particles of the future generation quantum computers: the qubits.  In the same way as to study this particles it is necessary to “fix” them in one particular state, 1 or 0, Liquid Painting becomes recto or verso, positive or negative, it is impossible to see both states at once because they are one and inseparable whole, they feed from each other and they must be understood as a simultaneity of existences. 

  Some figurative works are transformed by light. If it is placed behind the light unveils the physical process suffered by the paint on manipulation, showing imperfections, transparencies, holes and areas more or less translucent which brake the subject into an abstract image, leading the viewer to focus on the brush strokes and the paint’s whims. Playing with the intensity of light engages the duality reality/perception; when the light is off, the subject of the painting is perfectly visible but when light appears behind it, and this can be in a gradual or sudden manner, the figurative subject will disappear to give way to a disordered mass of paint. The light will brake the figurative into abstract and vice versa, unifying and destroying them both to enable the reconstruction from each other, freezing at will the otherwise inseparable simultaneity of states. 

  I allow myself to explore styles really different according to the principle of fragmentation of the self in multiple lives of our time, extending my research to follow the many possibilities that cross my projects. 

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