For the solo exhibit “Hay una palabra para nombrar la hora de la noche en silencio” (There is a phrase to title the silent hour of night time), Martín Soto Climent proceeds his alchemical transformation of 3-dimensional objects into topological drawings, moving from his previously surreal and humorous parts into a more abstract, contemplative manner. For the first time, the artist presents paintings and drawings designed with charcoal sourced from his very own garden, which he layers and polishes in excess of and about until finally the black is caressed to shine. Relying on the angle from which they are noticed, the graphite drawings El Reflejo del silencio (The Reflection of Silence, all is effective 2022) and Revoloteo nocturno. El silencio de la luz (Night Flutter. The Silence of Mild) both absorb the mild or mirror it back again: a visible paradox.
In the exhibition, there is an attention-grabbing rigidity among the will work that seem to pull the viewer within and those that push against the limits of their individual frame. Breaking the predominant black-and-white shade plan are the ballerina-pink Gossip: Caricia-apertura de la noche (Gossip: Caress-Opening Night) and the periwinkle-blue Gossip: Arrullo (Gossip: Coo). To generate these compositions, the artist hand-dyed pantyhose, which he then stretched in overlapping levels to insinuate muscle mass tissue, mycelia, or issue coming into getting.
Soto Climent’s titles consist of whispered references to night and the interaction amongst black and white, light and dim. In El instante de Leda (Leda’s Second), a swan’s head peeks out from a flurry of swerving lines conveying the beating of wings. Of program, motion and dance have been an integral portion of the artist’s perform from the incredibly beginning. As if executing a pirouette, Soto Climent has managed to return to the roots of his exercise even though taking a new convert into the pictorial.
— Gabriela Jauregui