A perfumed flight of light and color
Susie Gadea is a well-known personality, widely recognized in our island. Her name is associated mainly with graphic design and communication, suddenly turning towards painting as a completion of her existential cycles. Cycles that link her from her native Peru to Australia, where she grows and trains as a creator. She later settles in the Dominican Republic where she establishes fertile emotional, family and professional ties. Here, it appears that the return, transcribed in shades and essences, finds its space. It's about retaking the unforgotten, what beats and separates itself delimiting the scope of art practiced as experience.
Gentle, reflective and decidedly an artist, Susie Gadea has returned to the spiritual hub of essentiality, creating a renaissance of her own. Her pictorial letters are part of the non material and universal movement that had Vasily Kandinsky as it modern voice in his treatise “On the spiritual in art”, published in 1910. But beyond this adhesion, very distanced in time, these images spring as a personal chant, neo-abstract and bursting with double light -both physical and spiritual- as well as with the perfumed fragrance of the heart.
A creator from the root, consolidating both training and practice, she is more of an artist since deciding to deliver this series with which she is reborn. Susie Gadea establishes a conductive thread running from the momentum of her first text, created to fill a space in her daily and professional life. Her fist collection, titled "Connection" (2001 exhibit) synchronizes with this one called "The dance behind my eyes," in the choice of non material and non objective sources and, as she says, in choosing simplicity, lightness and tranquility as a means to find the wind and soar with wings of light.
Her imagery depicts a song bursting with spiritual indicators, metaphors of shades and shapes that suggest without accurate translation. We perceive the presence of structures or a framework of reference, but its mere perception.
Any perception frames of reference vanish, all that seems real proofs illusory. What was perceived as a metric element suddenly emerges as an informal trace. Yet all allusions are part of a seamless whole, a fluent, radiant, varied and fragrant totality where things are neither real nor imagined, but overwhelmingly felt from the spirit.
Danilo de los Santos
DACA/IACA
Santo Domingo, 2004
Danilo de los Santos is member of the Dominican Art Critics Association and of the International Art Critics Association. He was Professor of History and Director of the Fine Arts Faculty at Pontificia Universidad Católica Madre y Maestra and editor of Eme-Eme, Dominican Studies Magazine. Has has published several books and innumerable articles.