Lucia Sorans takes some pigments, mix them with oil (and other secrets) and gives consistence to a matter that she´ll later knead patiently and finally transfer to the fabric or the paper through meditated brush strokes. In that way the painter tunes in with her work pulse. That decisive jump into the new surface is solved with extraordinary ease as she has begun to paint way before and just now she is unfolding her gestures in a territory willing to register with complete fidelity her discharge no matter is a bizarre and gracious arabesque, a rough and sinuous brush transference, a mottledrhythmic group, curved or straight traces or any of the many resources that the artists counts on to explore and conquer the new territory.
Now, we find the formerly empty Surface rather populated. But never so much that wecease to perceive how the extraordinary quiet of the plane lets us know the less or more complex weft that has unfolded. We encounter violence and tranquility in a relaxed atmosphere never too full or too void. The illusory space of the painting invites to fall into the hypnotic vertigolaying within it.
Suddenly the artist sees how the Surface has taken possession of her brushstrokes and in the simultaneous evidence that they are playing at their own will and creating their own space she has no option but to stare at this incontrollable situation estranged. From that point on, she is almost in the same situation as we are when we encounter for the first time one of her pieces.
This happy, unsettling or strange conjunction is possible because the image constructed by Sorans grants that none of the prints that lead to this suppressive space be hidden.
Each stroke is like a Little rice grain that she left along the way to know her way back to the beginning. This stark procedure (there is much of starkness in Lucia’s paintings), makes the imaginary space of her Works visceral, in a way that if we let ourselves be caught in it´s vital flow we can ( taking the opposite path to her’s) jump into her palette – maybe even further- without ignoring at any time that we are inside a painting.
This round trip can be traveled repeatedly and suddenly discover that the solid and at the same time vaporous texture of the images is due maybe to that climax when the artist decided to abandon the work, that point where that image found its quality, took its shape without forgetting its origin, without hiding her passion for painting without ever ceasing to give consistency to what it is
JUAN ASTICA La Pampa, April 2008