Misrachi Gallery. Mexico City. Mexico
By María Helena González
Immersed in a world of images that follow one another very quickly, this artist's painting is offered to us as a possibility for reflective observation. Emotion grows as we penetrate the small worlds that she invents; certainly, some pictorial spaces full of unlimited exquisiteness.
It is evident that de la Hoz has generated conceptual proposals around the female body, identity and sexuality in innovative formats, a remarkable fact if we take into account that in recent years, especially after the neo-expressionist boom in the eighties (and apart from the so fashionable objects and multimedia art), many artists decided on large formats and the work made to be exhibited on large walls. But she, on the contrary, decided to insist on doing small format paintings; not out of a hollow eagerness to claim attention, but out of a very sincere and deep expressive need. The result is that her small paintings force us to enter her world: apprehending them implies getting too close, sharpening our eyes, sticking our noses together. She proposes a magnifying glass as an analytical instrument, which forces us to penetrate even more into her intimacy. Once inside we were captivated by its technical perfection. That is the reason why it is not tedious to contemplate them despite the effort involved.
The egg tempera on board requires a lot of expertise in the preparation of the support, the palette, and the result is extremely rich in details and nuances. There is also the quality and quantity of the scenes that he handles within each composition, the paintings seen in this way are like cases of acid cuteness.
THE INFINITE LESSONS OF ART, THE POETIC OF THE IMAGE AND THE POETIC OF THE WORD.
The existing dialogue between the word and the image distinguishes the whole of her work. Text and image interact, each one comes with their own circumstances to the appointment. The phrases, which generally appear at the bottom of the works, in calligraphy, make us look at the painting again to read them and to emphasize the forcefulness of the composition,
Like Carl Gustav Jung, who spoke of the shadow that we all carry inside, the deep-eyed painter alludes to the human condition like no one else in contemporary art.