With a tireless vitality and a quality for improvising a structure in herpainting that doesn´t neglect the compositive rithms or results into anarbitrary palette, Lucía Sorans achieves paintings that strikes us as snappy, unreflexive, palpable, as if her gestuality was so avident and irreverent that modulates and dislocates the surface untilit becomes a puls in gand vibrant organism originated from a fit of prime instinct where we can see the artist fisically launched into an inexorably uneven struggle that finds and proposes no meaning in any strategynor in an ulterior end, but in theheights and landslides of painting. Sorans belongs to a breed of painters who are crudely factical and experiential and each piece will be a reflection of what have happened in the volatile materiality expliciting that a-temporary that makes of the pictureless of a previously messurable format and more a fact, a cristalized even tembodied in the object of the painting as a tool and a device for pure action, which laws, language, poetic, tecnical and lyrical status are being constructed in the specific modus operandi without much pause, speculation, design or ponderation.
In that moment, when in the wordcs of the painter Jorge Pirozzi “paintingis imposible”. She will enter and explore this geography that is as much exceded as efficient in the segmentation and incrustation of planes, in a turbulent logic of strokes- by times proporcionally elegant, by times uncomfortably distorted- depending on the dimensions of the fabric and in a tense balance of tonal options, where the most luminicedges of color appear to be equilizedby a veil that regulates the whole system and sustains it in an intimate cohesion. At the same time it all seems a multiformed manifestation of a voluptous maelstrÖmm as hed by force into a rectangle and made with the pieces of a soft puzzle, half-way between a geometrization crashed by an impetuosde constructive vortex and the energy of anhybridfuel triying to amalgamete two powers in dispute, close to some sort of anileteret fauvism, out of frame, as a hypothetic primitive version of the classic abstract- expressionism.
The young artist gathers there sources of a trade that she profits of some times sensibly and at times on the edge, as if she was about to sucumb to the enormity of the quest, taking her chances with theless- advisable, owner of anaudacity only matching her innocence.
Nonetheless, Sorans is invariably triumphant, not only because, as it happens in the traditional action painting, she trustes the paradojic presicion of the out-of-control, but mainly because, with great character and a nude sensibility, she decides o make the effort, and askus to do the same, of surrendering to it all, of concealing any reference, any preset knoledge or eventual relationship so that at the moment of looking at her febrile canvas very thing is turned to present.
Eduardo Stupia, March 2011