Cristina Martinez: Luster and Lack
Taswira Gallery in Pioneer Square, in a gorgeous exposed brick and intimate new location, recently put out a call for writers. You could either write a three-hundred word piece, or produce a 60-90 second Reel on Instagram, in response to one selected work from the recent exhibition of Cristina Martinez’s newest productions. New-ish to seattle, I visited for the first time and wrote this statement. I was not interested in making an Instagram Reel…
Image by author.
Image from of Taswira’s website.
For representing resilience, healing, perseverance, and the importance of human connection, the works in To The One Who Remains Unbroken, by artist Cristina Martinez, are remarkably reduced. The figures hold the same stoic, calm expression; a slight twinge of exhaustion behind vacant, pupiless eyes. All cheeks are adorned with accentuated symbols of blush in the form of two hovering orange circles – a move that feels overly stylized for contemporary painting.
From across the room I approached a work at a sharp angle, watching the surfaces shift from matte, to semi-gloss, to texturized. I can see the areas in which a linocut is firmly pressed, and the quiet fervor of a brush makes the same sized strokes, in an effort to become invisible. It is the most excitement I've felt with any of the works thus far. Now, standing in front of this work titled, I Picked This For You, it is quickly received. The crane in the neck with a peculiar sprouted leaf, nervous arms held close to the chest, bloated fingers flimsily grasping the daintiest flower, offering it to the viewer. The body is built out from the surrounding purple surface, contour lines and polkadots define the layers of clothing very plainly. Each gesture looks effortless and nonchalant.
Approaching I Picked This For You from a sharp angle. Image by author.
There is nothing complicated about what I see. Vibrancy of color, subtle texture, and lack of layering softly yet definitively present this careful act. Maybe, this is the point. Human connection can be un-risky, un-gritty in the light of empathy. There is no attempt at some wild, nuanced, gestures of paint. I am not unraveling astonishingly intricate techniques of world-building and contemplation of human existence. The depth is not simply handed over. It is fragile and I am left meditating on the simplicity of it all.
I bloated the text a bit, writing some pretty, fluffy, observations while negating other thoughts that percolated after submitting my writing. The challenge to write short and succinctly is an extremely helpful tool for someone as long-winded as I in any given conversation, though I have another point to make.
These works are powerful knowing what the artist’s personal life entails, having unfolded on her social media. Knowing that she was going through a period of grief, I empathize with the depth of that reality. However this work doesn’t replicate that depth. The power of human connection is a topic so vast and the work remains flat in its definition. This artist is highly successful as an entrepreneur, generating a brand that sells out one-of-a-kind prints, original artworks, and clothing items. Her show completely sold out at Taswira. That commercial success I have no intention of criticizing. It is impressive! The work is not something that would stop me in my tracks if I saw it at a gallery in a group show. The supported writing next to the pieces by John Wesley were thoughtfully written, one stated this:
“How can we embrace the power of the present moment and the transformative energy of motion? This has me thinking about releasing energy that no longer serves me. What do you feel when you look at it?”
Each work has a certain posturing and question written by Wesley on the adjacent placards. They were certainly, borderline, cheesey. I still couldn’t help to feel that the endeavour to try to get the everyday human, who doesn’t always dedicate the time to engage with art, to try and do so is admirable. This work does not push the envelope, so to speak, when it comes to sharing nuance in processes and striking characteristics of mixed-media painting, though; it feels trendy. I am not aiming to demean the personalness of this work, and truly can say it is pretty. I want to be below the surface, though. A space like Taswira deserves work that deepens the investigation and forwardness of artists from the African Diaspora living in Washington State. Moreover, bringing artists from outside the state as well to further the conversation across borders would be a powerful move. I will continue to engage with this gallery and look forward to new narratives of art in this space.
