Lourdes Grobet’s Meta Points of View, or the Full Stop and New paraGRAPH of a New Grammar of Events

As a starting point, we find ourselves in an empty space containing half a ton of tiny colorful instants. It is an artistic manifestation poised to expand the possibilities of what can happen in a given site or place—in this case, the José María Velasco Gallery in Tepito City. If we consider this place as a space where multiple points of encounter usually occur, Lourdes Grobet is about to assign new meaning to thousands of ordinary, small circles. Though small and seemingly insignificant, these colorful dots are the genesis of formal consistencies and coherent visions at certain resolutions. They are not merely celebration, festivity, or carnival. These little pieces of multicolored paper, in the theory of art and image production, are the structure of what is recognizable and the consolidation point of various pictorial movements.

It was not until the late 19th century that the French Neo-Impressionist artists Georges Seurat and Paul Signac pioneered a style based on creating drawings through the exclusive use of dots or producing paintings by placing only pure colors, dot by dot, instead of using brushstrokes on canvas. Known popularly as Pointillism and, from the artists' own perspective, as Divisionism, it was not the only style to assign significance to the dot. In the early 20th century, one of the fathers of abstract art in the West, the Russian Wassily Kandinsky, perceived the dot as the essential and unique bridge between word and silence—and made it a central motif in his abstract paintings. Swiss painter and draftsman Paul Klee examined how a line is a dot that projects itself successively. Russian Constructivists also consolidated the dot as a concrete means of expression, with abstract and conceptual values, treating them as intelligent forms with other pinpointed references. In this work conceived by Lourdes Grobet, we also find the ventilated spirits of Jackson Pollock’s “action pointing,” the point of contact with large-scale comic imagery in Roy Lichtenstein’s “comic points,” and the fusion points that may arise with the work of other artists or styles, which due to space limitations, cannot be fully mentioned.

But here, in this zone created by Lourdes Grobet, Pointillism is no longer a pictorial movement, but rather, many colored dots in artistic motion. This moving installation is a synergy of abstract entities or primary concepts that, when added together in disorder, confront us with admiration and awe.

Conditioned by a mechanical energy, dot by dot, Grobet weaves the essential of form using elements with neither width nor depth. With the origins of the line and pure basic concepts, she interlaces a formless rainbow. All of them, as if unstable points performing an acupuncture of disorder.

dot by dot, Lourdes weaves in our imagination a new debate on the consistency of instability and the inconsistency of concrete forms. She deconstructs the meaning of figures and appearances with minimal units of significance that establish new pathways for relation.

We are witnessing an aesthetic celebration. Even if Lourdes’s dots are carried away by the wind.

Full Stop and new paraGRAPH
César Martínez