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It is said that it was Pablo Picasso who inaugurated the technique of collage by gluing a piece of rubber with a mat design and a string as a frame in an oval painting. Technically Patricia Linenberg does not make collage, because nothing beats in his paintings, however it achieves an unprecedented transmutation. A virtual and unreal collage, as they “stick” both moving images and sounds. The painting becomes screen, without losing its condition of pictorial field; Just as collage introduces the real in the representation, Linenberg introduces the virtuality in the represented reality. The color, scene and characters of the painting are intensified with the projection. A traditionally static support as the painting is energized, not as the artists of the kinetic and op had already done, but in a much more technological way. Beyond the technical novelty, each of the paintings manages to convey a history and a cluster of sensations. Each of the “animated paintings” (if the term fits) is a tiny movie theater where a small story happens.

Library crosses the theories of the parallel worlds; from an almost domestic scene in the room of a house is passed to a hexagonal geometric structure that evokes the literary fantasies of Jorge Luis Borges and even certain scenes of the film of science fiction Interstellar. By mapping effects, the local color of the frame suffers constant mutations, intensifies, darkens, and lights up. In Theater the scene is located inside a lyrical room, introduces the dimension of narrative time, the musicians begin to tune, the lights go out, the face of a woman is full of emotions and begins to radiate light, the music is protagonist and motor. The music is real and not metaphorical, Patricia manages to recreate the communal atmosphere that takes place in a concert between the musicians and their audience. The figure of the musicians is not present in the painting because the accent is put in the reception, in that face that seems to tremble with emotion. In Forest, a female silhouette enters a spacious environment with a large window. This woman is in the center of the scene, looks down and magically appears an aqueous reflection, like a mirror that asks her to stop, to “reflect” to look inward. Shortly after she looks up and points to the outside, then trees appear and disappear, mutate and transmute some, those old axis mundi, which unite the sky with the earth when they sink their roots deep and raise their glass to the top. That window fades progressively and let the woman access the forest as if she was waiting forever, melts with the landscape as if it were her natural destiny. What is above is below, and what is below is above enunciated the first law of the Emerald Table of the alchemists, and from there it follows that what is inside is outside, what is outside is inside.

This woman achieves a mystical union, surpasses the barriers of the self to integrate to a superior whole.

In these works, by Patricia Linenberg there is technical novelty, and much more; with an innovative resource it puts into action the inert surface of the painting to tell stories in which their personal histories are conjugated with a universal sensibility.

Julio Sanchez

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