Natalia Conde and the benevolence of suffering for her art

 
By: Cándido Gerón

Fusing into creation is to comprehend the drama of its mysteries. The artist will make sure that his work places that destiny. The artist has no other alternative but to recognize himself in it, because the spirits will always be on his side.

Burt The artist and this art fight within themselves. That is, they compete to exceed each other, just like the intellectual subtlety that desperately creates the strange form of word, with enviable reputation. Impacting technique. Her paintings produce in the spectator a catharsis of dreams and conquests. Her energy is accused by a surprising power of chromatic synthesis. From the point of view of her architecture, her plastic art exhibits, in its whole, a metamorphosis that is consequent with her communicative emotion. The visions of the artist seem to surge from an oneiric world when they transmute the images of their characters which stretch and reconcile in their loves. Parting from these premises, these characters have movement and composition because there is no doubt that Natalia Conde has great dominance over pictorial solutions.

Her biggest interests are the sublimations, the suppositions, the appearances, to spontaneously ex plore in the mystical, similarly, in the origins of humanity, and clearly without falling into prosiness or trivialness. In fact, Natalia Conde is a paintor, with extensive sight, who is not satisfied with the concealed forms of art. Instead, she goes beyond her visions until she establishes a scheme of innovations and discoveries.

 These visions, nevertheless, are affirmed in the academic and in a corollary of subjugative ideas, until they establish a fan of inmutable reflections. Few Dominican artists posses the academic and intellectual knowledge of Natalia Conde. To talk about the enveloping chromatism of her paintings is to perform a mechanical exercise since she already has us accustomed to the seductive light of her paintings. Words cannot express the pleasure that they produce for us, her images, rich in resources and life experiences.

In her paintings, to say it with the words of Carlos Baudelaire: .. “the game at the same time is a violent and contained passion". It is easy to advise the brilliance, joy, and sadness of her models, the inferiority and superiority of some, the tragic sentiment, anodyne, the mixture of rejoice and intemperance. As we have previously affirmed, the axiomatic and primitive, the identity problem and the mystical preoccupation that is the curtain of the scandals and silences that cause languor in the majority of her characters are in them. 

These characters, evidently, reproduce the most faithful mirror of life. Because of this, when studying the art of Natalia Conde, we must be very careful with interpretations, for the case may be that we accept them erroneously. We cannot deny that these characters are violent like the mystical strokes and impulses of the artist and that certain images can lead us to the joys and desperations she reflects. Our major interest in her art is its artistic value, the double nature that stirs up the frontier of the marvelous.

Once more, I will make notice of the dominant personality of Natalia Conde, an artist with many pictorial claws. Curiously, on the other hand, she participates in her paintings as a spectator, inclining herself in a tenebrous manner-as Baudelaire would say-in the ovens of metaphysics. In this manner she approximates to her childhood, and nevertheless, without any effort at all, she paints very rich and spiritual.