Given that the line plays a leading role in Patricia Fabre's painting, it is possible to approach her work based on the qualities of her drawing. A very free hand in the game of directions and proportions leaves a trace of his actions through his walk on the canvas. In its realization, the idea is not prior-as in the classical drawing-nor is the realization automatic -like in gesturalism. Fabre builds a very evident tension between the deliberate and the accidental, the spectator can follow his processes of stroke and composition as a continuum in which the drawing itself leads the painter of the suggestion to the compositional organization of the work.
Although the forms that are imposed on the stroke are usually capricious, a certain order drive causes the painter to wrap them in organic contours that often refer to the human body as a representation unit. Thus, bodies, heads and hearts are enriched with clear allusions to clothing, eyes, lips. The order of these bodies can be concentrated in individuation (when characters appear) or in the organic dissolution within another structure, often architectural or urban, with some references to the natural landscape and the stars.
In his painting, the line is cultivated. Patricia Fabre has let her grow as one who cultivates a plant, but also as one who obeys a tradition, because through the line the painter has gone to the discovery of a past certainly not remote, that of modernism.
Jaime Moreno Villarreal
Two things surprise when valuing the work in a broad set: the maturity so fast that it acquires and the wisdom that it hides. They will tell us that it is a matter of age. I would say that it is a matter of innate artistic gifts that were waiting for their development and a passion for painting that he patiently incubated.
Patricia works in a similar way: on a generally monochromatic background she unravels the thread of life and leads us through a labyrinth where some fragments of her life hide -and sometimes she lets us glimpse-.
Montserrat Galí Boadella
When painting becomes a
way of life
Patricia Fabre's series paintings are alive presences. Each work is immediate, it represents loved ones, a close family on numerous occasions, but to represent them in this way is a way to cover up the identity, to reveal a new personality, a sublimated reading beyond appearances.
With the grammatical study of Patricia Fabre's painting, an attempt is made to scrutinize the relationship between her expression and perception, between knowledge and meaningful content in her work acting under a comprehensive and up-to-date point of view of the reading of art.
Deepening in the grammar of the plastic realization of Patricia Fabre, will be deepened in the parameters of his pictorial work that leads to an interpretation of his work, although this would only cover one aspect of his creation. Understanding the precise work, understanding the totality of the artistic construction within the individual, social and historical context, requires a more complex level of aesthetic assimilation.
In the pieces and the attitude of Patricia Fabre traces a remnant of what modernity means for the artist, a recovery of that individual time, that contrast to the naturalistic classicism of the past, that internalization of the present as an intense experience of the moment. Patricia is deployed in this current area of modernity recovered, contemporary modernity, a modernity that prints an intense time, a lived and felt scene that spreads through memories and the open and decentralized space.