A Colloquium on Artist Lydia Rubio



Justo Sanchez and artist Lydia Rubio

Miami, FL–(HISPANIC PR WIRE)–April 13, 2007
Culture in the City, “South Florida’s Premier Weekly Cultural Event Series” hosted a colloquium with renowned visual artist Lydia Rubio and art critic and journalist Justo J. Sanchez.

According to Sanchez, “Lydia Rubio’s work is about formulas, strategies, and maps. When looking at a canvas – her virtuoso Imago Ignota, for example – her artist’s sketchbooks, or her large scale sculptural installations, the senses, cognitive mind, and emotions are engaged. Her opus requires work on the part of the spectator but is ultimately coherent and satisfying.” He added: “Ms. Rubio gives form, visible form, and articulates fundamental questions about forlornness, dislocation, existence, love, quest for knowledge, and location in geographical and historical coordinates.”

There is a distinctive element in Lydia Rubio’s elaborate pieces: their use of words and images whether in painted surfaces, sculptural multi-panels, and integrated installations of public art. Her paintings, at times accompanied by books, are technically refined panels that offer a conceptual reconsideration of the medium of painting. Fragmentation plays a big role in her work as evident in the recent Lot 24, a conversation with Rubens’ The Departure of Lot and His Family from Sodom. The artist points to David Hockney’s book Secret Knowledge. Mr. Sanchez argues that one finds in Rubio more than an exercise in human perception but an essay in juxtapositions and inner contradictions: adding and changing possibilities to a visual text.


Lydia Rubio, Lot 24

Mr. Sanchez finds “an honest philosophical inquiry taking place chez Rubio. Her sketchbooks are proof of her methodological transparency. They become documents of an epistemological and artistic process.” He recalls having discussed Kuhn and Feyerabend with Ms. Rubio, probing her aesthetic protocol: “she has always been against what she calls ‘the myth of spontaneity.’ Although she studies, step by step, the problems to be solved, she is not guided by an agenda. Lydia allows her training, and what she reads, her research, work with the materials, acquired sensitivity to move her in a given direction. These elements, she has confessed to me, result in a flow of automatic writing and drawing.”

Ms. Rubio is currently working on three important public art commissions in Miami-Dade and North Carolina.

For Mr. Sanchez, Ms. Rubio’s work is provocative: “it is not to be taken passively nor is it for the lazy. Puzzles, philosophy, and, certainly, serious art are not the domain of the lazy or the weak at heart.

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