| work
 
| 2016 - 17 | dialogues
| 2014 - 15 | dialogues
| 2014 - 14 | polyptych
| 2013 - 14 | linen
| 2012 - 14 | montacarga
...................site-specific
 
| 2010 - 11 | chaos grey
| 2009 - 10 | orange net
 
| 2006 - 08 | signals
| 2006 - 08 | pavement
| 2005 - 06 | about texts
 
| 2009 - 10 | first meeting | ph.
| 2009 - 10 | orange net | ph.
| 2009 - 10 | eloisa cartonera | ph.
 
 
 
 
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| iliana regueiro
 
 
 
 

Registros de la memoria cotidiana
Records of the daily memory

Everyday they are almost similar, but there are details, instants,findings, particular sensations,
And a different/distinctive way of living through the same thing. How do memory processes relate
With the lived events ? Iliana Regueiro work seem to take up / take upon these processes.
Her paintings work as records of day to day memory. They work/ operate as projections of the memory functioning; layer over layer, cut away and distorted images, translation of the evocations, again and again, day after day.
Language combination, geometric,abstract,organic,symbolic: all nourished by the variety of daily stimuli. Layers overlap and seal, and a small cut of each reminiscence help/ do reconstruct or map outnarrations, completed by the lived experiences. Therefore go flattening some to others, the same way memory does with all lived… memories flattens,colours flatten.
If I imagine that each canvas correspond to one day, I inmediately associate this with the reflexión attributed to Buddah Gautama :
“ What we are today comes from our thoughts of yesterday, and present thoughts build our life of tomorrow: our life is the creation of our mind “
(The ) time and dedication devoted to colours developing and selection, as well as the insistence in the processes and images, they also evoke Orient…
Thats why I associate Iliana Regueiro paintings with On Kawara date registers/ records, that as well as she does , they pay tribute to the daily course of the time, almost like saluting to the sun each new day, meanwhile repeating the mantra : “ I´m alive “.

 

Laura Messing, 2014.