It is not the first time that two artists coincide in the same exhibition in Zurbarán and it is not the first time that these two artists have held an exhibition in this same venue on Avenida Alvear 1658. They are Natalia Sánchez Valdemoros from Mendoza and Claudio Barragán from Buenos Aires.

She uses building facades to reflect stories, while he works wood to build mythological horses. His work can be enjoyed from Monday to Friday from 12 a 20 or Saturdays 10 a 13, until the 9 of June.

More than 35 works on display, both spoke with La Vereda and analyzed the exhibition.

According to Natalia Sánchez Valdemoros, "There is no single definition" for your art, nor "a single meaning, not a single concept. My work is urban, very open and with many colors. The technique I choose is according to what I want to achieve at the moment ", expressed by the artist who currently works with oil on canvas.

"There are always new challenges, therefore I do not have a defined definition of my art but I can affirm that it is closely linked to architecture ", says Sánchez Valdemoros.

What fascinates you the most about the walls and architecture?

The diversity that exists in architecture has me captivated. I also like to imagine the stories of those who live in them and to observe the details of the buildings is something wonderful.

What techniques do you work with?

At the moment I am working with oil on canvas, I have tried many techniques and I always return to oil.

What does it cause you to be exhibiting your work in a gallery like Zurbarán?

For my career it is very important because I have the possibility of leaving my work in the best hands in the country. Personally, I am very happy to be part of Zurbarán, the human work group is excellent and not to mention Nacho (Ignacio Gutierrez Zaldivar, gallery director), what is the best.

What part of his work will we be seeing during this exhibition?

The expo is about daytime urban facades. Each work is a story!

In my opinion, this time the facades are very romantic, harmonious colors and everyday situations like those that one can enjoy when walking in a city.

What are you trying to provoke the viewer with your work?

I prefer that the viewer interprets the message in their own way and gives it whatever meaning they want, so I do not condition others to see what I see in my work, let each one make their own story, behind every window and every door a new world arises from the hand of imagination.

What stands out the most about Barragán's work?

That is so simple and complex at the same time that it moves. I love his work and he as a person is a ten, a privilege to share a room with him.

"I am interested in the horse mediated by history"

Meanwhile, Claudio Barragán carries out a proposal where the horse appears as the protagonist, with the power not only of his bearing, but also of the wooden details that highlight his excellent work. But nevertheless, not all horses are the protagonists of his work.

"I never bothered a horse. I'm also not an equine anatomist. I'm interested in the horse mediated by history, myths and literature. I'm going after the Trojan Horse and the Cid Campeador. Horses where Party and Death are confused ", highlights the artist.

What do you intend to bring to the viewer of your work?

While i work, nothing. After, when the sculptures or whatever I do (today the meaning and meaning of everything is discussed) they leave the workshop and start living their life away from me, I attend with surprise the interpretations and comments of the spectators. Sometimes I become one of them and I comment too.

What is the technique you use?

Actually, work backwards. My thing is not to think an image, a shape and then search the library of story techniques for how to represent it. I invent processes, the form is a result, a testimony of the process. If horses and masks appear, it is because they come out of an area of ​​non-reflection.

You say that it is necessary for the artist to lose control of his work. What is gained and what is lost with this concept?

When work escapes my control it moves away from the idea that gave rise to it. If not, it would possibly become only an illustration of an idea or concept and according to my point of view, nothing is further from art than illustration. I believe that an artist is a guy who has an idea but has to go through a subject. Otherwise it would be a philosopher or an anthropologist or a professional from another branch of work and research.

What are you most passionate about in the world of masks?

Just as I am not a horseman artist, I'm not a masker either. As I point out in 3. Titles are actually a double-edged sword, sometimes cosifican too much the piece and others open the sense. Before “Mask” I prefer more suggestive names “Fear of losing your mind”, “A Brilliant Type”, “Iron men”.

Is there any similarity between the world of masks and that of horses??

And, the search and the question about the processes and the form. Y, I sense this from my interest in myths and the pre-Columbian and Greek past.

What do you think will cause the viewer of this exhibition?

My work ends in the workshop, the viewer is outside me and always surprises me, when I tried to do something for a certain audience I was wrong.

What stands out the most about the work of Sánchez Valdemoros?

The suggestion of the occult, the mystery of what is not shown.