Antonia María Peralto graduated in Fine Arts from the Faculty of Santa Isabel de Hungría. Curious about any form of artistic expression, she has used oil and acrylic as tools, but in her search for new media, she has not disdained sculpture, ceramics, collage and especially engraving, without leaving writing behind.
From his excursions in such different fields, perhaps this current moment difficult to classify. She attributes it to a moment of downturn, when even in semi-confinement, she could not attend her usual workshops and began to draw almost out of distraction.
His drawing is strong, resounding, with curves that sometimes in very few strokes communicate movement, they tell us stories and are adorned with colors and collage details. Qualifying her style is very difficult, some may think that her drawing has influences from Picasso, that she makes her own and takes them to her own, more personal area of hers.
From his dalliances with magical realism, he has gone on to an everyday surrealism, like walking around the house, where characters from strong features coexist with all kinds of animals and in any corner there are those onlookers who spy on bathers, couples or any other character. There is no shortage of flaunting ladies, with spectacular headdresses or those flamenco sellers of carnations, with polka dots and abundant floral headdresses. Some works tell us a whole story, in the present, past and future tense, or represent mythological scenes such as the kidnapping of Europa or the wait for Penelope, perhaps the result of her role as a writer.
Pedro Rodríguez, the painter of light from Moguer, titles his writing in the program as Blessed Madness and leaves phrases like these, trying to portray this new painting by Antonia María: They are impossible figures that remain in an unbalanced balance with their load of ironic humor, parody and hidden eroticism. Symbiosis of characters that cluster and mate, inhabitants of I don’t know where, perhaps from the horns of the moon. Others, like escapees from the court of Felipe IV, who without giving up their crinoline wear daring designs of pop or kinetic art; their faces, of whose soul are they mirrors?; and their forms, to what unreason do they obey?
It is clear that Picasso’s shadow hovers over these profiles as it does over so many works by 20th-21st century painters, but which Antonia María knows how to transform into her own material. These imaginary portraits are loaded with a symbolic and conceptual value, human types that exceed conventional boundaries, sarcastic caricature-portraits with prominent lips-hearts. What I said: blessed nonsense of types as extracted from Greek kraters, but dotted with polka dots in a bata de cola; others, like characters from the Medici court, crowned with exuberant headdresses like horns of plenty.
After participating in multiple individual and collective exhibitions in various cities, this is the most coherent sample and with a more personal style of all. We will be able to admire these works, more than forty. Starting at 8:00 p.m. next Monday, the 16th, at the José Luís García Palacios Cultural Center of Caja Rural, located on Mora Claros street.