ART - Step 2005-2007

Step and threshold

Beyond the discontinuous circumstances of existence, for Beti Vervega, the sudio is a place of hard work and self-control. Her studio is not peopled by still-life cherished objects or by different sketches "processing" a visual pretext. In its plastic contents, her studio is highly introspective, it bears some sthenic and experimentalizing fruits.

Beti Vervega's debut decade, the 90s, coincided with the metabolization of the first wave of artists who co-inhabited with the visual rhythms of advertisment. During 1999-2000, the artist was concerned with the fragmentariness and the density of the stimuli activated by the publicity clips. She belonged to a figurative direction close to the infantile imprint to which a certain Picassian tension encountered in stylisation and some reduction familiar to J.-M. Basquiat's late period were added. Nobody could ignore the shapes she used to cut up with great self-assurance - a kind of profiles-slices-wings -, or the small canvases grouped in a sort of puzzle, if somebody really ventured to decipher them. The African experience (1999-2000) has simplified her compositions, it added the trenchant blacks and the noisy chromatic ratios.

The next step - I am referring to her present themes - is acquired through the iconography of a hand made of rays, an experiment which followed the interiorization of a spiritual reordering. Beti Vervega's painting simplifies the message, it gradually clears it up. Colour is laid with ample and plain gestures. The painter prefers the test of composition to that of the gestural confession. She seems to look for an energetic channel, for a strong and plain sign - a bunch of five arrows, the throbbing hand - through which to convey and communicate. Hand's diagram moves gradually, as an energy focus, towards a zigzagged sign placed on vigorous oblique lines. Hand becomes a telluric symbol, it seems a celestial harrow, a ceremonial boomerang or the American aloe the Mexican Empire glorified.

Her canvases, distributed on various frames, some of whom extremely long-shaped, constitute an exhibitional group. The onlooker is first attracted by the sequential evolution of a chromatic energy. We also notice the spacing cues and the quantitative contrasts between the fascicular shapes, rhythmically redimensioned in the plastic domain.

Beti Vervega's exhibition becomes an objectual device enjoying a unique motif, able to communicate chromatically from one image to another. Certainly, it is artist's encounter with the challenge of simplicity that time preserves.

Simplicity, as an antidote to duplicity, to any lack of authenticity or to arrogance, can become an artistic standard for a creator arrived at one crucial moment of her life.

Aurelia Mocanu