"All of us who have worked with Ana at the Kaleidoscope Cultural Center wish to remember today:
THAT ANA HAS BEEN THE CENTRE ITSELF.
The meeting of people always searching for something.
Summons always open to everyone.
The construction around new ideas and revolutionary projects.
The possibility of change and transformation.
Unquenchable torrents of color.
An eloquent way to recover, as the most needed of politics, the undeniable creation of the human being. "
It was said by Adorno in his Aesthetic Theory: expression is pain, is the contents of truth in the works of art, and that is why all true art is necessarily expressionist.
In Ana Agudo Sanchez, Alián´s works that remain with us is possible to outline four fundamental lines in her work (…) is what affects her constant learning, but also her painting classes (teachings) with her numerous students, in whom, in a way, her work is extended and continues…
Alián in one of her personal notebooks asked herself “What is there in the pictoric representation that is not seen and it´s essential? What is there in all languages-she insisted-that makes them languages?” Her answer is important:
To teach how to see.
Learn to see in a different way.o.
Arrange the meeting with the essence of each thing.
To put the attention on “the other”.
This exhibition is directed towards a reflection of the human being in relation with the society in which he is living, the meeting with the problems which he himself has generated such as war, hunger, discrimination, etc. The lack of a conscience, the absence of solidary feelings and moral values, sometimes drive us openly towards our own (chasms) abysms, towards an existential emptiness… In spite of it all, Alián opens a door to hope. The unfolding of light and color invites us to transcend those states to show us that a spiritual and authentic world is also possible. The strength of her personality and the profound (profundity) of her thoughts involve the onlooer making him a participant of her feelings.
"Painting, as every true art, is a path to interior knowledge, a way to conscious introspection of the depths of the soul. It doesn´t seem strange that for Alián her works were truthful fragments of her true spirit (…), the work of an authentic creative person has to give account of her evolution as a human being In spite of the brevity of her artistic career, in her pictures remain shaped her need for inner growth: to her first works merely expressionist, follow a more sentimental and positive painting, which lead to the Orphism of her last years".
“Overwhelming energy filling up with light the dark monotony of the canvas, filling up with colors that nothingness where everything is possible. Yes, in your paintings everything is possible, from the most immense tenderness, like that of the child with his mother or her loving couples, to the most cruel color expressed through the silence, or those heartrending screams that leave naked the great needs of the human being".
“The Scream may be considered the most representative and mature work of Alián´s expressionist phase. The symbol work of all social compromise. The iconography takes us inevitably to the mythic symbol of expressionism: The Scream, by Munch, 1893. If art is live essence Alián recuperates and elaborates the work of the Norwegian artist, giving him a new aesthetic (artistic) and symbolic meaning… With the focus of most modern techniques of the Comic and the movies, bringing to us through the canvas, it´s tension, its drama, as if it were a great movie screen.”
“Ana was a preacher of art. Wherever she went, there were at least, from five to ten people with their ears open, I repeat “at least” because all who knew her tried to be close to her, to learn or to feel what she wanted to transmit, her love for art and painting (…) Ana not only taught me how to paint, but besides, she taught me to see and understand the (works) paintings of others, particularly that of the great painters in history and to respect it….That is why Ana made me feel like a painter, the painter that I am today, and that without meeting her, perhaps that painter would have remained dormant inside of me, because she had that gift to work miracles that is akin to preachers: she knew how to touch the (interior) inner feelings of people with her magic finger and, bang! They opened their eyes…!”
“Alián´s look is so brave that is able to reflect our own shadow, that which seems unacceptable, and is at the same time so humble that is able to accept the presence of the darkness that is part of ourselves, as though it were the other face of the same coin
And what´s more extraordinary (…) her personages reach out to harmonize with her dark side: through her brushstrokes she pours in all her luminosity, almost always the light that illuminates the picture is on the protagonist, and that is unquestioning proof of her bet on the human being, her unshakeable faith in him.”
"Alián left us a magnificent and extensive work in only three decades of her life. In her paintings she transmitted her own way of seeing and feeling life (…) and to us as spectators of her work a trail opens by which to travel and be able to reflect in front of each painting and by the way in front of our own lives.
Bernard Shaw used to say: “We look at the mirror to see out faces and at art to see our souls.” The mirror that Alián sets before us and in which each one of us inevitably see ourselves reflected, takes us without a doubt to the encounter with the human being…”.
“When she transmits her feelings to the stand, she doesn´t “photograph”, she “visions”. As Pablo Jimenez would say, “in her artistic task, she doesn´t look, she sees; She doesn´t tell, she lives; she doesn´t find, she searches.” The concatenation of the facts, sickness, drugs, screams, wars, hungers…, are substituted by her transfiguration, motivated all of it because she holds on also to what is behind of all existing things, obtaining some tragic effects of an incandescent nature and of an overflowing intensity.
We could remember observing this work, that passage of the philosopher Sören Kierkegaard, whose spiritual affinity with Alián is clearly seen: “Is so heavy the weight of my soul that no thought can transport it and there are no wings able of elevating it to the immaterial. If I feel moved, it seems to caress the ground with her wings, like the low flight of birds when they feel the storm coming. In my chest dwells an oppression, a fear that foretells an earthquake.”
“We could talk about a step further in this trail that Alián has opened, the meeting with the human being now is harmonious and warm, in this occasion the look of Alián goes beyond her personages. If there is a special feature in these is that of being translucent, is that they permit light and color to pass through their bodies. The human figure has turned then, into a mere support that allows to express the essence. These are bodies that could not even be necessary, but it is the strength of her brushstrokes and the freedom of her strokes..
The great artistic contribution of Alián as a painter has been, without a doubt, to show us the bright side of darkness, the bright side of the human being and her mission as a painter and as the exceptional person that she was, has been, to offer us with her own work of art, to live the experience of darkness and light”.
“Watching her work it becomes evident that Alián was an artist endowed with a subtle and meticulous sensitivity that is molded with generosity in each one of her compositions. In her work matter is distributed generating contours, volumes, profiles and faces. Her hand transforms feelings into images to wake up our senses, to beat our consciences through an explicit social denouncement.
Without Alián art in our region has lost that rendering scream that hammers our consciences, that made us reconsider about a world that transforms itself and contorts over itself, but that it always offers us altruists spirits that move us”.
“Ana Agudo Sanchez, “Alián”, (1964-1995), still lives in the memory of those who knew her for her great joy, for her artistic commitment and for her stubborn effort to denounce all that was wrong in the human being. Those of us who didn´t get to meet her cannot stay impassive before her shocking and heart rendering paintings. Allián manages to create a state of mind with her works, transcending the limits of her canvases. The restlessness, the insufferable levity of being, is manifested in the trilogy of the abysms, etc…
They talk to us about a reflexive expressionist painting, felt as a vital attitude, as she herself wrote in her notebook:
“…today finally, I feel
inside of me that painting
and myself inside of the painting
play in the center of my existence…”
“The selection of works, show us a vision of the total of the themes used by Alián. She paints what she sees and feels as if it were her own. She offers it to us in the dual clash about what she always asked herself. Her blue paintings, full of mystic suggestion, love and silence, take us face to face to some compositions based on her thick brushstrokes full of color and strength, creating psychological tension and turbulence to the spectator, compromising him to take action to change the world.
(…) Alián went (away) and with her brushes she talked to us in case we didn´t see the world... But the intifada, discrimination, the abuse of children, drugs… it all still goes on. Perhaps she will have to paint from the studio wherever she inhabits now and send us a brushstroke that reaches the heart of all men”.
“A new path is being opened with the reading of philosophy books. It could be said it is like a second stage of her pictorial trajectory, much more intimate and spiritual. Her palette becomes full of blues and violets to shape loneliness, impotence, the meaninglessness of life yet unrevealed (…)
Her lonely figures in empty spaces are questions before the mystery of life, and we, as spectators of the work of Alian, recognize ourselves in it and it is our job to reveal the meaning of life… ”.
“As Cortazar would say and our memory filled with her name, Ana comes into our lives generous, as a never-ending torrent of colors. “Planting flowers in the hearts of others with my heart".
She, like a map, showed us possible trails, all different. The trail of art. The trail of meeting of people. The trail of social commitment…
(…) She left us her magnificent, extensive work, reflecting with it her way of seeing y and feeling life, teachings that showed us a trail to each person that came to her from the personal, the educative (pedagogic) or the merely artistic. I am close, passionately close, and there is no distance ever, never will be”.
"She wanted to tell, needed to tell. She looked at the world with open eyes, without fear to see, but she was not satisfied with that, because her eyes and her hands transformed feelings into images and words, dreams, life.
I can´t talk about her work. Her work talks by itself. I can´t talk about her, today she is her work, the work of a woman that from creativity constructed real and imaginary spaces where dwell, spaces from which to communicate and be communicated with others and with herself
She didn’t pass looking, she passed feeling. She lived with the intensity of those who cannot be satisfied, with the intensity of courage and strength, of love for life, of passion. Let us pass through this exhibition looking, without fear of seeing, feeling, understanding”.
“Alián is alive. Alive in the scream for help for those who suffer. In the blue of her sad nights. Alive in the joyful and brilliant dance. Alián is now a muse. The exhibition “Alián, an example of courage” gathers paintings, drawings, texts and sketches from her notebooks. Wide open windows to enter into a magic universe (…)
She researched from a very young age diverse fields of creation (…) She loved freedom to paint her own way inside the tower that crowns the Bellas Artes Circle, in Madrid, where she developed a great part of her creative activity…
The exhibition is perfumed by a beautiful fan of details, sketches, notes, drawings, perhaps ideas (Vuelapluma) captured by her ball-pen or (doodling) improvisations, little pieces of paper. Blessed glory.
Up to the fifth of April there will be a piece of heaven in the Municipal Museum at the Altozano Plaza. Alián will be there. Look for her!”
“With a title suggestive and at the same time penetrating, I approach an artist in all the extension of the word.
A young woman, versatile as they come; I read her biography and I am bewildered that a girl in an unfortunately short time, had the courage to carry out a thousand and one things, within the arts in general: music, poetry, painting, theatre, etc..., indicating her love for it all and of course, her many assets to put it all into practice, (…) When you dare to study her work deeper you feel something special that will lead you to follow and to comment on it, and you find that it is easier to do that with her than with other artists. That´s the way Alián is.
I want these lines to be a homage to her memory, to her quality and beauty within the plastic arts.”
Alián he went in 1995. Since the first tribute exhibition in 1996, by for his exemplary trajectory as a painter and teacher, to date there, have been numerous exhibitions throughout Spain.- 1996 Móstoles (Madrid) Exposición-homenaje “Alián” Sala Expo. C. Cultural Caleidoscopio