Centro Cultural Borges – 2007
“It is with great pleasure that I start writing this text that will be the prologue to this exhibition of Candelaria Palacios’ drawings, which Eduardo Stupía and me –as directors of the project The Line Thinks– welcome with great satisfaction.
The reason this is so is that I have been acquainted with her artistic evolution from the beginning, which has increasingly surprised me over the years, until we reached this point in which her work became an excellent example of what we call “the line thinks”.
The first work by Candelaria Palacios I ever saw was a group of paintings that reflected, with an objective will, the interiors of her own country house or, sometimes, her environment, but she handled exteriors with the same intimate sensitivity. But then, as we can see, her realist and highly sensitive eye started to grasp the abstract drawings made by the folds of a blanket or the twists and turns along a snaking hose. From then on, she began to favor the drawing that results from the weaving of lines and integrating her former objectivist intent with abstraction, as if the results of her lineal weave objectified. And I use that word with both the meaning of objectifying the subjective and the meaning of turning into an object: her images materialize on the plane.
In this way, with an obsessive methodology, Candelaria Palacios began to unleash her lineal thought and her world.
Capable of drawing for many hours each day, often on a car while she is travelling back and forth from the countryside to the city, she has been revealing herself as a remarkable artist for the past three years through visual texture, with allusions that are at times figurative and at times abstract, but always with an exquisite sensitivity that does not lack a sense of humor.
Candelaria’s objectifying eye has wandered from the object to the eye, from the eye to the soul, from the soul to the hand, from the hand to the line and from the line to the soul of the beholder.”