By Patricia Avena Navarro | August 15, 2023

The experience of visiting the exhibition of Martín Reyna (Buenos Aires, Argentina) at the galerie Bessiere called Fluides is truly captivating. To achieve this, the artist took full advantage of the topographical qualities of the exhibition space. Fluides is an installation that maps the artist's work including a selection of paintings, many of them in large format on paper as the main support.


Paper has traditionally been one of the most widely used mediums for artistic expression. However, it has rarely been the work itself. With an installation conceived exclusively for the gallery space, the project emerges as a bold approach to research/creation as a plastic language, suggesting new and varied visions. To this end, paper becomes the support and means of representation, technique, procedure and resource. The works presented are constructed in a museographic route composing an inhabitable site that envelops those who visit the exhibition. In this way, Martín Reyna presents his panels, freely suspended in invisible structures, as if forming a large textile sculpture, in an immediate relationship with the architectural and natural space. While each painting has been imagined and created individually and maintains its own autonomy as a work of art, it also remains in close connection with the rest of the pieces, in a sort of ecosystem that evokes sensorial and emotional experiences, while referring to the place in which they were conceived.

The exhibition is proposed as one of the many possible syntheses of Reyna's prolific work at a moment of maturity that allows us to appreciate his contribution to the art of our time. It surprises by the dimensions of some of the pieces and by a montage that transforms the exhibition space, introducing the visitor to an unexpected sensorial experience. It also reveals his trajectory, starting from a carefully study of space, structured on the basis of the tensions caused by the use of different textures, orientations and chromaticism that modulate the rhythm of his itinerary. The creations illustrate the basic ideas that make up the production of the artist, who always works exploring the expressive and plastic limits, showing a utopian vision that generates new relationships between landscape and color. The links between gravity and lightness, emptiness and fullness, interior and exterior, structure the tour.

Martín Reyna's artistic practice is articulated on the basis of "rhythm", an element he considers essential as a structural part of painting; a rhythm that is the result of combining certain shapes, lines and colors. His work consists of a particular approach to the pictorial landscape genre, building a singular universe around line and rhythm. The landscape then becomes the essential reference of his work, which is related to abstraction and tries to take the viewer into the experience of infinity provided by nature. Thus, in Reyna's work the colors vibrate in linear structures, suspended in equilibrium by parallel, oblique lines, following an abstract calligraphy in a dancing form on the surface.


Full or empty circles, rectilinear incisions, white, black, blue shapes make up a new musical language; these are bright colors that exceed the limits of the paper. He conceives a work that is very personal in its palette, in its construction, but above all is his freedom in creation. The dispersion of lines, the form and the fluid and dynamic color manage to give a sensation of uninterrupted movement, overlapping, prolonging themselves infinitely; they are the result of reflexive and yet carefree improvisations.


His works are the result of a technique based on the potential of pigments and the prominence of color and matter. With a tendency to create huge improvised paintings on the ground either with thick brushstrokes or meticulously controlled dripping, his style is reminiscent of Tachisme closely related to Informalism. However, he develops an absolutely personal and own plastic language within abstraction, independent of the artistic groups of his generation.

Martín Reyna works the same themes in different sizes, using the increasing scale to explore lines and colors. On this path he selects and discards until he reaches the large format, which allows him to surround the viewer and invite him to look at the work as if it were an abysm, to question their own position in front of magnitudes that exceed their own scale, reducing the image to the essential. Without ever knowing the final result, Martín Reyna manipulates the emotional state of the spectator, guiding his hyperesthesia until the viewer is trapped in the timelessness of the works, as if there were nothing else in the world but this singular link, out of time, between the visitor and the work. It gives the walker a space of liberty and even more, a wide freedom to interpret the same visual space where the access does not require any effort, simply to enjoy a pleasant wandering.

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