POETIC SOBRIETY AND HUMANISM IN THE SCULPTURE LANGUAGE OF ROSA SANCHEZ
When observed. her pieces becomes a part of us, projecting towards our soul the vivid experience of the form. activating the silence of matter and echoes time that she with a profound sensibility captures and exposes as an aesthetic celebration of the humanistic philosophy of her art. The rhythm, the sober and elegant composition, the organic design of the unity of her work project sensuality, with gestures and symmetric movements that make bodily structures a discourse of tri dimensionality, establishing a timeless link with the values of Cicladle sculptures within the sober atmosphere of the expression of the sculpture of the Cuban master AgustÌn Cardenas. The sculptor word of Rosa Sanchez is a transition between the objectivity of the symbol and the emotion, as components of a poetic unit that celebrates life as a tangible philosophical and rational act. Neither romantic or trivial. Rosa Sanchez impregnates the beauty of the interior rhythm the harmonious movements of her undulations, the self severity of the artist that thinks that time harmonizes her movements and feelings with the positive-negative spaces. Proposing the void as an act of reflection about the value of life, love and hope.
Abil Peralta Ag¸ero. Poet, Art Critic and Dominican Curator, Member of the Association of Critics of Arte-Aica. Secretary General of the Dominican Association or Art Critics and Director of Artes in Santo Domingo.Fragment of Iberoamericana International Sociocultural magazine.
ROSA SANCHEZ'S SCULPTURE IS A SONG IN MAJOR TOMES
It has always been said that a work of art must be a simple as a song. A song that goes beyond an artist's soul untÌl it imprints itself in spectafors' sensitivity . It has been suspected that a sculpture's a silent melody which may only be heard by the most refined souls; unlike a painter a sculptor does not have the availability of the mermaid-like caresses of color, the infinite glides of drawing which mark of matter and act as an artist's coordinates to capture beauty.
When we hear the delicate songs of Rosa Sanchez sculptures, we find ourselves before a very special way to caress form. This artist, which we can define as figurative and abstract, has developed a non-confusable concept of graphism which does not give way to useless detail; hence, this is the reason for that firm sensation drawn up as if the figure had been exposed to the abrasion of centuries. Obviously, that this deliberate effect is a manifestation of an artist who has surpassed that horroris vacui (horror of emptiness) which generally leads to the saturation of forms. This artist has the virtue of emptiness and she converts emptiness into the notes of her pentagram. Rosa Sanchez is an heiress of abstract 20th-century sculptors and she manages to create a personal language which sings to tenderness and love without having to resort to useless floweriness. Deep down, Rosa assimilated the lessons of pre-Columbian ceramics in which simple forms express the exuberance of the tropics without losing that joy typical of Latinos who touch that which is transcendental from the dance of an everyday life without anger.
