Arancha Goyeneche (Santander 1967 - )


Understanding the painting of Arancha Goyeneche and, by extension, that of many other artists who paint using light as a material, is surely as easy as investigating the figure of the peacock: its colours do not originate from the pigments of its feathers but from light interference phenomena; it is a fine, regular structure that amplifies or extinguishes light waves according to their frequencies. The rest is a question of rhythm. Or, in the case of painting, of assuming that it is something other than a material value.

Arancha Goyeneche works with fragments as triggers for each new image, thereby moving forward from serendipitous findings. Employing adhesive vinyl as a palate of colours, she manages to achieve pictorial effects, until removing the initial painting and even the vinyl itself to enjoy its photographic simulacrum.

Later on light arrives as a pictorial effect or gesture; therein the use of coloured fluorescent tubes. There also exists the intention to create painting with actual movement beyond the virtual movement of the painting from its perspective effects.

Her strategy is thus one of unfolding or propagating a reconstructed and hence fictitious reality that is born of the most traditional of media –painting–, from which it inherits its greatest historical load and which, at the same time, apparently processes a weaker or, perhaps, more questioned contemporaneity, the mood of which is continuously under debate. Painting is today, more than ever before, an attitude.

As Thierry de Duve has pointed out, painting is no longer a technique, but a tradition. An idea or way of thinking, surely, about painting itself in its possibility to apprehend the world.

Work Selection

 Arancha Goyeneche - Paisaje Medio

Paisaje Medio