Rebeca Plana

    Attributes

    • Female
    • Collage
    • Drawer
    • Abstract expressionist
    • Graffiti
    • Mixed media
    • Painter
    • Street art

    About the artist

    The trajectory of Rebeca Plana (Albalat de la Ribera Valencia, 1976) is not without links to this development: it links distantly with the first European proposals and more closely with American abstract expressionism as well as with the idea, pointed out by Harold Rosenberg, of Painting as a place for an event. His search for a subconscious spontaneity is the starting point that allows us to catalog his work within this genealogy. But it is necessary to point out that, through these channels of automatism, Rebeca Plana has managed to avoid the mere reiteration of previous codes and maintain her own gestures that act as emblems of the unrepeatable instant of the creative act.
    Aware that current art has abandoned the unique and strong directions of modernity to gain in complexity and mobility, the work of Rebeca Plana unfolds and overflows in multiple tensions: color saturation, strong spots, decentralized compositions and constant interferences between successive pictorial planes. His work seems destined to slap the passivity of the gaze, or rather, that distracted perception that corresponds to our time of opulence and visual digitalization. The weapon used is their own impulses understood as primordial events activated through the pictorial gesture. The profound honesty of Rebeca Plana's proposal lies in this immediate transcription of a naked emotional intensity; but the artist does not naively intend to freeze a contradictory present but to reveal the unspeakable word that modulates her own life experience. In fact, as Fernando Castro Flórez has pointed out, Rebeca Plana's painting has an important confessional dimension that is affirmed in a subjective display from which it projects a deconstruction of its own intimacy.
    The fragility of this cartography, configured through a battle between the statutes of pictorial practice and the awareness of the mutability of emotions, generates a destabilized and disturbing territory. The different categories (order, chance, gesture, determination, impulse, freedom) are mutually violated, vetoing all notion of closure. Spaces of tensions, the paintings of Rebeca Plana inscribe the sense of abstraction in an area that is not, much less, that of lyrical rejoicing or ornamental twisting. His speech faces much more complex crossroads that underline the responsibility of finding an aesthetic of personal discoveries, hidden in its ultimate meaning but open to the sensorial seduction of the spectator.
    Throughout her career, Rebeca Plana has also reflected on the possibility of extending the limits of painting; Now, faced with the hybrid strategy that camouflages itself in the pollution and distorts the specificity of the medium to account for its own extinction, the artist proposes an affirmation of the painting that semantically re-conceptualizes the everyday object that serves as support. In this way, mattresses, doors, towels or any other material of use and waste, is enabled to contain a new memory, aggressive and intense, which beats the sense of secrecy and reticence before any full meaning. It is, after all, one more stratum of Rebeca Plana's departure from any narration interested or empowered by fashions in favor of a wise plastic construction of her symbolic consciousness.