They say that the function of Art criticism is to guide the spectator towards the truth of the artist or exhibition. For this, the best thing it to begin by being clear and concise, and in this case, to say clearly that “contes breus” (short stories) the piece that Laia Arnau presents from last Friday, at the Col•legi d’Aparelladors is a magnificent exhibition. The truth is that we art lovers know Laia Arnau in her role as an illustrator, a job realised with quality and professionalism. Her public artist appearances happen in this environment, and therefore with all the artistic meaning, for better or worse, doesn’t stop being a complimentary function of putting into images those thoughts that a book for example puts into words. It is, therefore an act of individual creation, but qualified under the rule of its function.
But today, in this exhibition, Laia Arnau gets rid of this type of illustrative limitation, to throw herself with intensity into simple spaces, images, situations, shared looks, in a word, at those elements, spaces or acts that happen in the constant progression of life.
A look with which one personalizes, humanizes and brings closer and alive, in this veritable philosophical summary of her “plastic” beliefs that she expresses at the start of her exhibition saying: “Each image captured on canvas is one brief instant of a story that is lost in time, among a mountain of sensations, with the unique privilege of being remembered.”
In a perfect combination that could be called the anglo saxon “view” (the weight of power of the illustrative memory is evident), with this defined painting, in the environment of the realistic dominiom, but with a more sweetly Mediterranean chromaticism, Laia Arnau encases her stories, in the form of short stories, as she calls them, and that engaged us in a special world, made of realities and at the same time, sometimes of dreams, in which niceness dominates over vital anxiety that this type of humanistic painting so often ends up presenting.
Laia Arnau is vital, expressive, plastically intense and the evident results are successful and dignified of all applause, with the small hindrance of this internal network in which the presence of the preview of the drawing marks the too strict limits that would need to be obviated. But this small macula, which there had to be, doesn’t need to detract one bit from a brilliant exhibition that we fervently recommend a prolonged visit to, with the certainty that the visitor will leave satisfied in the artistic and with a positive charge in animation, as in the times we live in, it is not something to underestimate.