EL DIARIO DE CARACAS, December 14, 1994. By Enrique Viloria V. DEATH IN THE VENEZUELAN CONTEMPORARY ART
GAUDI ESTE: THE ANCESTRAL DEATH
Recently, death has turned present in Gaudi Estd's work. The sculptress brings it from both her most immediate environment and her most recurrent past. It is a death that travels in time, in the rites and circumstances that go along with the physical disappearance of man to tell the others, those who are left, that some day they will see each other equally, lying, breathless, blindfolded, shrouded, mummified, finally death.
EL NACIONAL / September 20, 1994. FINE ARTS
By Roberto Guevara
GAUDI: IDENTITIES AND. FUSIONS
Two characteristics are arranged at regular intervals along her trajectory, one is the labyrinths ofanonymity and personality, the other one, the merging force of body dimension. The being and consistency: As to the first, we can see the plurality, the massive, and the individual fitghting _ to resist against homogenization. Then the powerfull dimension that is within the matter and forms, interrelating games and syncretic processes that contribute with visions thar are proposals. Owner ofa rigurous technique, Gaudi Este seems now to enjoy the pleasures of invention even at the formal dominion. Her great precision works seem now to discover the quality of rustic finishes, even the strenght of the naked matter. More auntonomy, more decision to exceed what is been fulfilled, without abandoning its sense. Double inclination. Wisdom and Liberty.
EL UNIVERSAL
4 DE JUNIO DE 1992.
By. Eduardo Planchart.
The conceptual motive of these works is not the relationships of Power, but Fantasy, the mutability offormsandtheirorganicity. The sculptress achieves to establish a tension between the natural form of wood and its aesthetic sensitiveness. Besides, she comes to an approachment to the sacred in her present sculptures, which was not so present in her previous work due to the various resources she mixes, such as metal wheelbarows, rusted wheels, nails that create a climate of medieval icon and object for image worshipping, such as what happens to the sculpture winner of the Great First Award of the Salon de Aragua (Aragua's Exhibition Room); of this year. Enchavez, 1992, In it, the sense of medieval reliquary, african magics's object andrprotest, are merged. The wooden piece has the shape of a hurt howling dog, penetrated by rusted nails of various shapes and sizes, geste related to the image worshipping's rituals, the way of working on its surface reinforces the dramatism of the fetishistic wound. Its brutal forms are related to the historic moment that is living Venezuela at present. This award is the result of the constant risk of the artist, of her untiring spirit for researching and renewal, that is creating aesthetic proposals that avoid by all means to have smooth and flattering forms.
GAUDI ESTE: SYMBOLS OF _A PRESENT TIME HISTORY
By Katherine Chacon
In this way her present work goes far away from the exteriorizing comment, to access images of deep physic entailment: some of beastiary, of medieval icon is in these animals whose figures and gestes sum up, in a fortunate synthesis, power andexquisitebalanceofforms, obviating however, any preciosist eagerness. It would seem these works to be acting as symbolic constructs of a collective thought, that in our country acquires, above all during the last years, a remarkabtetransforming sense. Fear, wrath, impoverishment, injustice; impotence, but also humor'and irony, appear to be populating the referential universe of these pieces.
aThe Seditious* EXHIBITION u0n all Fours People*
By Juan Carlos Pnlensuela, 1994
Alt the work of Gaudi Este, of contusive and beauffullexecution,refers to the metamorphosis of man and the manifestation of his other ego in `the figure of his faithfull eternal ally, the dog. Dogs will always be standing up along with their masters or with whom are close to them. Dogs that arewatchdags ofanearly beaten humanism. In that sense, liberation; splendor of the being, is taken in the midnineties,in its enormous horses. Metaphor fat liberty comes along with the gigantic wheels that accompany these cons, rustieal and warmly of possible directianalities, ofwhite touches ofcolarand minimun traces of pencil. Horses to dream of, once mare in life's possitive cycle. Horses, that, maybe soon will be men with anguish for unrestraint.
TO CARPE THE POWER
By Maria Elena Ramos 1981
Gaudicreatesinasculptoricwaythedual beings: man dog, dog man, man chair, chairandrogynaus. From a dog's body, Chihuahua, dobberman; egyptian, or maybe a i<street dog», a human face, is looking at us. Body space is shred: man comes close to his animal reign anti dog is included in mar's body (What ofthe master? That of the ((best friend <cofttte dog?). It is put to share much more explicitly and intimately than in every day life of many dogs, the veeinity of human, Dog and man share the same space, and approach one each otter to their powers. Dog and master are said to be alike. Dogs are said to hive people's face and people who show a dog's face. Man is said to seem too tike his objetecs, or ttat he is able to unify a t one glance one of his favorite objets with his preferred animal: chair dog. Dog headed chair: useless chair to be seated down for its back is A bulk sculpture aver which the man's back can not be leaned Chair dog which is at the same time an androgynous chair: a chair with a soft skirt and with a «brave» and masculine dog's head. Another chair is a slender woman (oDog; with Women)) work), ' back with breasts legs with knees and wellshat thights.
