The folds of Reality
Gazes are never harmless. When we observe we inevitably alter what is observed, we burst into reality, we modify it and, sometimes violently, sometimes like a caress, we add meanings that were not there before. In Daniela Boo's work, that modifying power of the gaze becomes naked and candid, inviting all of us to witness that transformation. From the abstract and kaleidoscopic geometries, to the hoods and the bodies that become canvases that turn into, surfaces to be explored and appropriated, Boo always shows himself intervening in reality, recreating it for us and moving between the various layers that separate us from it. If this intervention presents its most strong version in luxury cars, those mechanical objects of desire to which Boo adds a new patina of exclusivity, turning them into "pop" objects and giving them, without artifice, the aura of an unreproducible work, or in the bodies of models who, by wearing white garments printed with his paintings, offer themselves as supports for Boo's universes, it is perhaps in the other, more modest projects, where this constant transformation of reality is revealed in a more inspiring way . In Boo's work, the everyday world can go from a hyper realistic detail of a Buenos Aires bus, which seems almost as if it had been planted in front of us, as if we ourselves were awkwardly voyeuring the anguish of the passenger of that means of transport, to quasi-geometric images in which nothing can be easily recognized, but which, however, by means of a technique which reminds a photographic extreme blur, reveal another non-figurative, kaleidoscopic, elusive reality,. When we see things, the everyday world, through the eyes of Daniela Boo, we see, of course, her rigorous technique, her mastery of colour harmony, her precision with framing; but, to a much greater extent, we are perceiving the transformation process that Boo exerts on reality, the way in which her past, his cultural, social and family references, come to life in her scenes and become much more real than the object which in theory they portray. It is almost as if, more than a painter, she was a stage artist who describes what she sees and connects it with some moment in her life, as if she were telling us: I connect this geometry to this song by the Beatles, this urban vehicle with my stay in a hospital, the anguish of these passengers with the tragic history of a country, this luminous explosion with the guilty pleasure of pop objects. In each of these fragments of the real, Boo finds something of herself, something of her personal history and, by showing us that Daniela that she sees in everything she observes, she allows us -almost forces us- to see ourselves too in that same reality. She confronts us with the way in which our gaze transforms what we are looking. The language of comics, superheroes, hyperrealism, the strange look, the Latin culture as a pop expression, the different urban alphabets, the self-reference as a form of onomatopoeia, are the mediations that Boo puts at play when turning that reality, taking possession of it and disrupting the senses: as in the Pagani car that is both portrait and canvas, which is, at the same time, exhibited and modified forever, in each of the infinite stripes that are created and undone between the viewer and the object, between the observer and the observed, Daniela Boo invites us to understand, with an honesty that pure realism could never aspire to, the place that she herself occupies in that intervention, the way in which, by looking , she looks at herself and, by painting, she paints herself.
Eduardo Hojman – Barcelona, 2022
The folds of Reality
Gazes are never harmless. When we observe we inevitably alter what is observed, we burst into reality, we modify it and, sometimes violently, sometimes like a caress, we add meanings that were not there before. In Daniela Boo's work, that modifying power of the gaze becomes naked and candid, inviting all of us to witness that transformation. From the abstract and kaleidoscopic geometries, to the hoods and the bodies that become canvases that turn into, surfaces to be explored and appropriated, Boo always shows himself intervening in reality, recreating it for us and moving between the various layers that separate us from it. If this intervention presents its most strong version in luxury cars, those mechanical objects of desire to which Boo adds a new patina of exclusivity, turning them into "pop" objects and giving them, without artifice, the aura of an unreproducible work, or in the bodies of models who, by wearing white garments printed with his paintings, offer themselves as supports for Boo's universes, it is perhaps in the other, more modest projects, where this constant transformation of reality is revealed in a more inspiring way . In Boo's work, the everyday world can go from a hyper realistic detail of a Buenos Aires bus, which seems almost as if it had been planted in front of us, as if we ourselves were awkwardly voyeuring the anguish of the passenger of that means of transport, to quasi-geometric images in which nothing can be easily recognized, but which, however, by means of a technique which reminds a photographic extreme blur, reveal another non-figurative, kaleidoscopic, elusive reality,. When we see things, the everyday world, through the eyes of Daniela Boo, we see, of course, her rigorous technique, her mastery of colour harmony, her precision with framing; but, to a much greater extent, we are perceiving the transformation process that Boo exerts on reality, the way in which her past, his cultural, social and family references, come to life in her scenes and become much more real than the object which in theory they portray. It is almost as if, more than a painter, she was a stage artist who describes what she sees and connects it with some moment in her life, as if she were telling us: I connect this geometry to this song by the Beatles, this urban vehicle with my stay in a hospital, the anguish of these passengers with the tragic history of a country, this luminous explosion with the guilty pleasure of pop objects. In each of these fragments of the real, Boo finds something of herself, something of her personal history and, by showing us that Daniela that she sees in everything she observes, she allows us -almost forces us- to see ourselves too in that same reality. She confronts us with the way in which our gaze transforms what we are looking. The language of comics, superheroes, hyperrealism, the strange look, the Latin culture as a pop expression, the different urban alphabets, the self-reference as a form of onomatopoeia, are the mediations that Boo puts at play when turning that reality, taking possession of it and disrupting the senses: as in the Pagani car that is both portrait and canvas, which is, at the same time, exhibited and modified forever, in each of the infinite stripes that are created and undone between the viewer and the object, between the observer and the observed, Daniela Boo invites us to understand, with an honesty that pure realism could never aspire to, the place that she herself occupies in that intervention, the way in which, by looking , she looks at herself and, by painting, she paints herself.
Eduardo Hojman – Barcelona, 2022
The folds of Reality
Gazes are never harmless. When we observe we inevitably alter what is observed, we burst into reality, we modify it and, sometimes violently, sometimes like a caress, we add meanings that were not there before. In Daniela Boo's work, that modifying power of the gaze becomes naked and candid, inviting all of us to witness that transformation. From the abstract and kaleidoscopic geometries, to the hoods and the bodies that become canvases that turn into, surfaces to be explored and appropriated, Boo always shows himself intervening in reality, recreating it for us and moving between the various layers that separate us from it. If this intervention presents its most strong version in luxury cars, those mechanical objects of desire to which Boo adds a new patina of exclusivity, turning them into "pop" objects and giving them, without artifice, the aura of an unreproducible work, or in the bodies of models who, by wearing white garments printed with his paintings, offer themselves as supports for Boo's universes, it is perhaps in the other, more modest projects, where this constant transformation of reality is revealed in a more inspiring way . In Boo's work, the everyday world can go from a hyper realistic detail of a Buenos Aires bus, which seems almost as if it had been planted in front of us, as if we ourselves were awkwardly voyeuring the anguish of the passenger of that means of transport, to quasi-geometric images in which nothing can be easily recognized, but which, however, by means of a technique which reminds a photographic extreme blur, reveal another non-figurative, kaleidoscopic, elusive reality,. When we see things, the everyday world, through the eyes of Daniela Boo, we see, of course, her rigorous technique, her mastery of colour harmony, her precision with framing; but, to a much greater extent, we are perceiving the transformation process that Boo exerts on reality, the way in which her past, his cultural, social and family references, come to life in her scenes and become much more real than the object which in theory they portray. It is almost as if, more than a painter, she was a stage artist who describes what she sees and connects it with some moment in her life, as if she were telling us: I connect this geometry to this song by the Beatles, this urban vehicle with my stay in a hospital, the anguish of these passengers with the tragic history of a country, this luminous explosion with the guilty pleasure of pop objects. In each of these fragments of the real, Boo finds something of herself, something of her personal history and, by showing us that Daniela that she sees in everything she observes, she allows us -almost forces us- to see ourselves too in that same reality. She confronts us with the way in which our gaze transforms what we are looking. The language of comics, superheroes, hyperrealism, the strange look, the Latin culture as a pop expression, the different urban alphabets, the self-reference as a form of onomatopoeia, are the mediations that Boo puts at play when turning that reality, taking possession of it and disrupting the senses: as in the Pagani car that is both portrait and canvas, which is, at the same time, exhibited and modified forever, in each of the infinite stripes that are created and undone between the viewer and the object, between the observer and the observed, Daniela Boo invites us to understand, with an honesty that pure realism could never aspire to, the place that she herself occupies in that intervention, the way in which, by looking , she looks at herself and, by painting, she paints herself.
Eduardo Hojman – Barcelona, 2022
The Space Between People
‘You are born alone, you die alone, the value of the space in between is trust and love’ Louise Bourgeois ‘The great challenge is loneliness’ states the artist. Like art, loneliness often feels like being trapped behind glass; that’s the signature experience of urban life. Daniela’s art, arising out of loneliness, driven by a desire to communicate, describing what it looks like and feels like, on one hand with extreme stillness, on the other hand in a vertigo of colours, can be seen for the first time in Berlin. With colour and vibrancy Daniela Boo communicates the poetry, musicality, solitude and diversity of our urban landscape. Daniels’s paintings serve as a consistent, serial investigation into the rhythm, mood and spatial movement of her urban environment. In this presentation of selected works from 2008-2017, pedestrians, cars, buses, trains, billboards, advertising, television and other familiar elements of our urban environment encircle and about one another, at times overlapping, at times blurring into an accelerated moving energy of abstract colour, allowing us the viewer to think, along with Daniela, through colour. As everything around us accelerates faster and faster our own pedestrian speed remains the same. This human pace, our solitary stillness, among the cacophony of city noise and colour, as we wait for trains, buses, sit in taxis, is captured in works such as Pasajero, the focus being concentrated on the individual. The observed or the observer? Looked at or overlooked? Daniela’s paintings provoke such questions. Spaces are created between the viewer and the observed, the painter and the audience.
Art Gallery Z, Berlin – February 2017
The Space Between People
‘You are born alone, you die alone, the value of the space in between is trust and love’ Louise Bourgeois ‘The great challenge is loneliness’ states the artist. Like art, loneliness often feels like being trapped behind glass; that’s the signature experience of urban life. Daniela’s art, arising out of loneliness, driven by a desire to communicate, describing what it looks like and feels like, on one hand with extreme stillness, on the other hand in a vertigo of colours, can be seen for the first time in Berlin. With colour and vibrancy Daniela Boo communicates the poetry, musicality, solitude and diversity of our urban landscape. Daniels’s paintings serve as a consistent, serial investigation into the rhythm, mood and spatial movement of her urban environment. In this presentation of selected works from 2008-2017, pedestrians, cars, buses, trains, billboards, advertising, television and other familiar elements of our urban environment encircle and about one another, at times overlapping, at times blurring into an accelerated moving energy of abstract colour, allowing us the viewer to think, along with Daniela, through colour. As everything around us accelerates faster and faster our own pedestrian speed remains the same. This human pace, our solitary stillness, among the cacophony of city noise and colour, as we wait for trains, buses, sit in taxis, is captured in works such as Pasajero, the focus being concentrated on the individual. The observed or the observer? Looked at or overlooked? Daniela’s paintings provoke such questions. Spaces are created between the viewer and the observed, the painter and the audience.
Art Gallery Z, Berlin – February 2017
The Space Between People
‘You are born alone, you die alone, the value of the space in between is trust and love’ Louise Bourgeois ‘The great challenge is loneliness’ states the artist. Like art, loneliness often feels like being trapped behind glass; that’s the signature experience of urban life. Daniela’s art, arising out of loneliness, driven by a desire to communicate, describing what it looks like and feels like, on one hand with extreme stillness, on the other hand in a vertigo of colours, can be seen for the first time in Berlin. With colour and vibrancy Daniela Boo communicates the poetry, musicality, solitude and diversity of our urban landscape. Daniels’s paintings serve as a consistent, serial investigation into the rhythm, mood and spatial movement of her urban environment. In this presentation of selected works from 2008-2017, pedestrians, cars, buses, trains, billboards, advertising, television and other familiar elements of our urban environment encircle and about one another, at times overlapping, at times blurring into an accelerated moving energy of abstract colour, allowing us the viewer to think, along with Daniela, through colour. As everything around us accelerates faster and faster our own pedestrian speed remains the same. This human pace, our solitary stillness, among the cacophony of city noise and colour, as we wait for trains, buses, sit in taxis, is captured in works such as Pasajero, the focus being concentrated on the individual. The observed or the observer? Looked at or overlooked? Daniela’s paintings provoke such questions. Spaces are created between the viewer and the observed, the painter and the audience.
Art Gallery Z, Berlin – February 2017
Thoughts on Daniela Boo
Eye travels, it always travels. It is not static. Acknowledging objets may stop us, but they will be in our way. We are immersed in a time when everything goes on. Our speed no longer matters but the dynamics between velocities. Our speed, pedestrian speed, is almost static in connection, for instance, with the velocity of the subway. We wait for the subway in a spot which does not move until we step into it, a spot which moves. Immobility and mobility, this is the key to understand Daniela Boo´s fascinating work. What is moved inside the subway? The crowd? Yes indeed, but also the conscience of reality. It is not immobile. Journalism taught us an aspect of photography: mobility is eternized (if its documentation is useful). But there is another photography: the photography proposed by subjective notions, either immovable or movable. Many photographers accept the challenge and they reach abstraction. Here, photography competes with painting. But in turn, painting competes with photography, since many artists who are fascinates with photography try hyperrealism. Today, the conscience of reality and the conscience world in motion go beyond technology: it resides in the human being. And here we start to talk about Daniela Boo. She has her visual language – painting – set by lines and colors which articulate in a virtual space. But since technology teaches us to develop our conscience, it shows us the breaking point between immovable and movable reality, either in subway or on the street in front of cars. In her painting, which as an object itself is immovable, paradoxically, everything is movable. But also she may stop and observe the immobility. Her painting is a thought about the thought, about is reflected and is present without being present. Thus, with absolute coherence Daniela moves between such which impress us as abstract and such which is presented to us with the veracity of a photograph. And she can afford that because she is a great artist. But, the most important thing is the sensorial poetics proposed by her which no photographic camera, not even the fastest one, could achieve. There is no such a thing as an objective look, and even photography may be subjective, but in her hands Daniela has no photographic camera but a brush and her memory, because in front of her eyes there is only the painting she is working on which, later on, will be thankfully appreciated by us.
Luis Felipe Noé – July 2009
Thoughts on Daniela Boo
Eye travels, it always travels. It is not static. Acknowledging objets may stop us, but they will be in our way. We are immersed in a time when everything goes on. Our speed no longer matters but the dynamics between velocities. Our speed, pedestrian speed, is almost static in connection, for instance, with the velocity of the subway. We wait for the subway in a spot which does not move until we step into it, a spot which moves. Immobility and mobility, this is the key to understand Daniela Boo´s fascinating work. What is moved inside the subway? The crowd? Yes indeed, but also the conscience of reality. It is not immobile. Journalism taught us an aspect of photography: mobility is eternized (if its documentation is useful). But there is another photography: the photography proposed by subjective notions, either immovable or movable. Many photographers accept the challenge and they reach abstraction. Here, photography competes with painting. But in turn, painting competes with photography, since many artists who are fascinates with photography try hyperrealism. Today, the conscience of reality and the conscience world in motion go beyond technology: it resides in the human being. And here we start to talk about Daniela Boo. She has her visual language – painting – set by lines and colors which articulate in a virtual space. But since technology teaches us to develop our conscience, it shows us the breaking point between immovable and movable reality, either in subway or on the street in front of cars. In her painting, which as an object itself is immovable, paradoxically, everything is movable. But also she may stop and observe the immobility. Her painting is a thought about the thought, about is reflected and is present without being present. Thus, with absolute coherence Daniela moves between such which impress us as abstract and such which is presented to us with the veracity of a photograph. And she can afford that because she is a great artist. But, the most important thing is the sensorial poetics proposed by her which no photographic camera, not even the fastest one, could achieve. There is no such a thing as an objective look, and even photography may be subjective, but in her hands Daniela has no photographic camera but a brush and her memory, because in front of her eyes there is only the painting she is working on which, later on, will be thankfully appreciated by us.
Luis Felipe Noé – July 2009
Thoughts on Daniela Boo
Eye travels, it always travels. It is not static. Acknowledging objets may stop us, but they will be in our way. We are immersed in a time when everything goes on. Our speed no longer matters but the dynamics between velocities. Our speed, pedestrian speed, is almost static in connection, for instance, with the velocity of the subway. We wait for the subway in a spot which does not move until we step into it, a spot which moves. Immobility and mobility, this is the key to understand Daniela Boo´s fascinating work. What is moved inside the subway? The crowd? Yes indeed, but also the conscience of reality. It is not immobile. Journalism taught us an aspect of photography: mobility is eternized (if its documentation is useful). But there is another photography: the photography proposed by subjective notions, either immovable or movable. Many photographers accept the challenge and they reach abstraction. Here, photography competes with painting. But in turn, painting competes with photography, since many artists who are fascinates with photography try hyperrealism. Today, the conscience of reality and the conscience world in motion go beyond technology: it resides in the human being. And here we start to talk about Daniela Boo. She has her visual language – painting – set by lines and colors which articulate in a virtual space. But since technology teaches us to develop our conscience, it shows us the breaking point between immovable and movable reality, either in subway or on the street in front of cars. In her painting, which as an object itself is immovable, paradoxically, everything is movable. But also she may stop and observe the immobility. Her painting is a thought about the thought, about is reflected and is present without being present. Thus, with absolute coherence Daniela moves between such which impress us as abstract and such which is presented to us with the veracity of a photograph. And she can afford that because she is a great artist. But, the most important thing is the sensorial poetics proposed by her which no photographic camera, not even the fastest one, could achieve. There is no such a thing as an objective look, and even photography may be subjective, but in her hands Daniela has no photographic camera but a brush and her memory, because in front of her eyes there is only the painting she is working on which, later on, will be thankfully appreciated by us.
Luis Felipe Noé – July 2009
Daniela Boo
Briefly, everyday images place one on the top of the other. Pedestrians, cars, buses, trains, billboards, moving advertising, television, plasma or led TV, to which the accumulation os printed images, is added. A non-stop succession which is imposed to the eye. How to make a cut? How to stop the frenzied rhythm on the city? In Daniela Boo, such instant of detention seems to happen when, superposing the visual machine-gunning of contemporary cities, she sets her eyes on man and woman, she sets them aside of the frenzy and focuses on them. With the painting. “The great challenge is loneliness”, states the artist. The loneliness of a city residents and her own loneliness in front of the elements of paintings. And such is the underlying look of the group of works showed in this exhibition, a series of works performed between 2005 and 2009. Thus, in works such as Pasajeras, Pasajero, In&Out (2005), the focus is on the isolation of people who walk in urban concentrations: a bus window behind, the cut image of a human, the interior of a wagon with a solitary male figure, or the passenger stepping in and out of a train. However, if in the first work the plane color of the bus and the depurated details of the different elements emphasize a certain metaphysical loneliness, in other works such aspects is reduced only to certain details and to other areas, such as the human figure, the windows at the back of the wagon or the color spots of the platform, which already show signs of edge blurring which will be almost the main theme of upcoming works. There are two variables through which the artist moves indistinctly: extreme stillness and the vertigo of color dynamics. In such sense, both Che (2007) – a cut of the urban transit flow in the in which the city is blurred in the reflex of transit cabs window – as well as Uno (2005) - depurated hyperrealism of the interior of a bus flooded with flowers-, in spite of the different treatment, refer to the same absences, to the same individual lock ups in the overcrowded universe of the modern city. A distance penetrated some times by the flowers (inevitable evocation to Georgia O´Keeffe), a feminine world which is offered almost as an open color chalice, a fantasy world, of color dreams. To go through such loneliness, to account for the human nature in the intimacy of small universes frozen by the city, seems to be the will of Daniela Boo. On the other hand, in works such as Del otro lado II (2005) – what is seen at the other side of a moving subway train – figuration threatens to disappear, and images are centered in the vitality of movement. Forms lose all definition to turn into an horizontal abstraction of colors and lights. In 2008-2009, some of Boo´s works to surrender to the requirements of color, light and movement and to the visual problems set out. Now painting is not the representation of an object but withholding of movement (or of the color movement). In these works, the eye does not act as a photographic camera but as a moving camera which is still fixed on movable bodies. The fast passing of subway trains is thus the theme of different work, among them ¿Qué hay detrás de la luz? and Double motion (2008), which are a series. At a certain moment, these works deviate from what is real and are announced with names which evoke mythology, as when in fairy tales, damp patches on walls transform into monsters or into seductive adventure of titans. Thus, dynamic image of color loses all pretension of scientific approach and seems to fall back to the sensorial primitive nature, almost magical, of its potentiality. Eyes dissolve the image giving rise to the painting´s prominence, to go back, once again, to its worries.
María Teresa Constantin, July 2009
Daniela Boo
Briefly, everyday images place one on the top of the other. Pedestrians, cars, buses, trains, billboards, moving advertising, television, plasma or led TV, to which the accumulation os printed images, is added. A non-stop succession which is imposed to the eye. How to make a cut? How to stop the frenzied rhythm on the city? In Daniela Boo, such instant of detention seems to happen when, superposing the visual machine-gunning of contemporary cities, she sets her eyes on man and woman, she sets them aside of the frenzy and focuses on them. With the painting. “The great challenge is loneliness”, states the artist. The loneliness of a city residents and her own loneliness in front of the elements of paintings. And such is the underlying look of the group of works showed in this exhibition, a series of works performed between 2005 and 2009. Thus, in works such as Pasajeras, Pasajero, In&Out (2005), the focus is on the isolation of people who walk in urban concentrations: a bus window behind, the cut image of a human, the interior of a wagon with a solitary male figure, or the passenger stepping in and out of a train. However, if in the first work the plane color of the bus and the depurated details of the different elements emphasize a certain metaphysical loneliness, in other works such aspects is reduced only to certain details and to other areas, such as the human figure, the windows at the back of the wagon or the color spots of the platform, which already show signs of edge blurring which will be almost the main theme of upcoming works. There are two variables through which the artist moves indistinctly: extreme stillness and the vertigo of color dynamics. In such sense, both Che (2007) – a cut of the urban transit flow in the in which the city is blurred in the reflex of transit cabs window – as well as Uno (2005) - depurated hyperrealism of the interior of a bus flooded with flowers-, in spite of the different treatment, refer to the same absences, to the same individual lock ups in the overcrowded universe of the modern city. A distance penetrated some times by the flowers (inevitable evocation to Georgia O´Keeffe), a feminine world which is offered almost as an open color chalice, a fantasy world, of color dreams. To go through such loneliness, to account for the human nature in the intimacy of small universes frozen by the city, seems to be the will of Daniela Boo. On the other hand, in works such as Del otro lado II (2005) – what is seen at the other side of a moving subway train – figuration threatens to disappear, and images are centered in the vitality of movement. Forms lose all definition to turn into an horizontal abstraction of colors and lights. In 2008-2009, some of Boo´s works to surrender to the requirements of color, light and movement and to the visual problems set out. Now painting is not the representation of an object but withholding of movement (or of the color movement). In these works, the eye does not act as a photographic camera but as a moving camera which is still fixed on movable bodies. The fast passing of subway trains is thus the theme of different work, among them ¿Qué hay detrás de la luz? and Double motion (2008), which are a series. At a certain moment, these works deviate from what is real and are announced with names which evoke mythology, as when in fairy tales, damp patches on walls transform into monsters or into seductive adventure of titans. Thus, dynamic image of color loses all pretension of scientific approach and seems to fall back to the sensorial primitive nature, almost magical, of its potentiality. Eyes dissolve the image giving rise to the painting´s prominence, to go back, once again, to its worries.
María Teresa Constantin, July 2009
Daniela Boo
Briefly, everyday images place one on the top of the other. Pedestrians, cars, buses, trains, billboards, moving advertising, television, plasma or led TV, to which the accumulation os printed images, is added. A non-stop succession which is imposed to the eye. How to make a cut? How to stop the frenzied rhythm on the city? In Daniela Boo, such instant of detention seems to happen when, superposing the visual machine-gunning of contemporary cities, she sets her eyes on man and woman, she sets them aside of the frenzy and focuses on them. With the painting. “The great challenge is loneliness”, states the artist. The loneliness of a city residents and her own loneliness in front of the elements of paintings. And such is the underlying look of the group of works showed in this exhibition, a series of works performed between 2005 and 2009. Thus, in works such as Pasajeras, Pasajero, In&Out (2005), the focus is on the isolation of people who walk in urban concentrations: a bus window behind, the cut image of a human, the interior of a wagon with a solitary male figure, or the passenger stepping in and out of a train. However, if in the first work the plane color of the bus and the depurated details of the different elements emphasize a certain metaphysical loneliness, in other works such aspects is reduced only to certain details and to other areas, such as the human figure, the windows at the back of the wagon or the color spots of the platform, which already show signs of edge blurring which will be almost the main theme of upcoming works. There are two variables through which the artist moves indistinctly: extreme stillness and the vertigo of color dynamics. In such sense, both Che (2007) – a cut of the urban transit flow in the in which the city is blurred in the reflex of transit cabs window – as well as Uno (2005) - depurated hyperrealism of the interior of a bus flooded with flowers-, in spite of the different treatment, refer to the same absences, to the same individual lock ups in the overcrowded universe of the modern city. A distance penetrated some times by the flowers (inevitable evocation to Georgia O´Keeffe), a feminine world which is offered almost as an open color chalice, a fantasy world, of color dreams. To go through such loneliness, to account for the human nature in the intimacy of small universes frozen by the city, seems to be the will of Daniela Boo. On the other hand, in works such as Del otro lado II (2005) – what is seen at the other side of a moving subway train – figuration threatens to disappear, and images are centered in the vitality of movement. Forms lose all definition to turn into an horizontal abstraction of colors and lights. In 2008-2009, some of Boo´s works to surrender to the requirements of color, light and movement and to the visual problems set out. Now painting is not the representation of an object but withholding of movement (or of the color movement). In these works, the eye does not act as a photographic camera but as a moving camera which is still fixed on movable bodies. The fast passing of subway trains is thus the theme of different work, among them ¿Qué hay detrás de la luz? and Double motion (2008), which are a series. At a certain moment, these works deviate from what is real and are announced with names which evoke mythology, as when in fairy tales, damp patches on walls transform into monsters or into seductive adventure of titans. Thus, dynamic image of color loses all pretension of scientific approach and seems to fall back to the sensorial primitive nature, almost magical, of its potentiality. Eyes dissolve the image giving rise to the painting´s prominence, to go back, once again, to its worries.
María Teresa Constantin, July 2009
Daniela Boo's two ways of looking
Daniela Boo has a particular eye, or better said, both of them. This is: it exercises a manner of looking that I would call linguistic. Her language is formed by her graphic experience, but it is, before anything, pictorial. She contemplates the surrounding reality as if she were painting, but, when she actually paints, she becomes conscious of her approach. But she goes devising her approach with the determination and ease of easy of someone who senses the answers before posing the questions. For all of this, her language is abstract: not only is it subject to the dictates of the relationship of line-color-space, but many times it is also difficult to perceive a figurative element whatsoever. But her starting point is quite concrete: the square where children play, a pipe in the sand, the very game, a lady hugging her dog, the swings, children climbing, the shadows of the games, a street. Or rather, the subway, the wagon and its people, etc. every gesture she makes in the painting translates her nerve and determination. In some cases the sensorial element prevails, in other cases the visual one. However, both aspects are always present in her work. Eye, feeling, hand is her formula to transpose what is seen into executive energy and the elaboration of a new look: the painting she paints. I could say that Daniela Boo has two eyes and two ways of looking.
Luis Felipe Noé, 2004
Daniela Boo's two ways of looking
Daniela Boo has a particular eye, or better said, both of them. This is: it exercises a manner of looking that I would call linguistic. Her language is formed by her graphic experience, but it is, before anything, pictorial. She contemplates the surrounding reality as if she were painting, but, when she actually paints, she becomes conscious of her approach. But she goes devising her approach with the determination and ease of easy of someone who senses the answers before posing the questions. For all of this, her language is abstract: not only is it subject to the dictates of the relationship of line-color-space, but many times it is also difficult to perceive a figurative element whatsoever. But her starting point is quite concrete: the square where children play, a pipe in the sand, the very game, a lady hugging her dog, the swings, children climbing, the shadows of the games, a street. Or rather, the subway, the wagon and its people, etc. every gesture she makes in the painting translates her nerve and determination. In some cases the sensorial element prevails, in other cases the visual one. However, both aspects are always present in her work. Eye, feeling, hand is her formula to transpose what is seen into executive energy and the elaboration of a new look: the painting she paints. I could say that Daniela Boo has two eyes and two ways of looking.
Luis Felipe Noé, 2004
Daniela Boo's two ways of looking
Daniela Boo has a particular eye, or better said, both of them. This is: it exercises a manner of looking that I would call linguistic. Her language is formed by her graphic experience, but it is, before anything, pictorial. She contemplates the surrounding reality as if she were painting, but, when she actually paints, she becomes conscious of her approach. But she goes devising her approach with the determination and ease of easy of someone who senses the answers before posing the questions. For all of this, her language is abstract: not only is it subject to the dictates of the relationship of line-color-space, but many times it is also difficult to perceive a figurative element whatsoever. But her starting point is quite concrete: the square where children play, a pipe in the sand, the very game, a lady hugging her dog, the swings, children climbing, the shadows of the games, a street. Or rather, the subway, the wagon and its people, etc. every gesture she makes in the painting translates her nerve and determination. In some cases the sensorial element prevails, in other cases the visual one. However, both aspects are always present in her work. Eye, feeling, hand is her formula to transpose what is seen into executive energy and the elaboration of a new look: the painting she paints. I could say that Daniela Boo has two eyes and two ways of looking.
Luis Felipe Noé, 2004