PAINTINGS EXHIBITIONS OF OLGA SINCLAIR

"WOMEN IN VIOLET"

By: Simon Simorangkir, painter
(Translation)

The embassy of the Kingdom of Spain is holding an exhibition of paintings of the attractive Kind, the works of the painter Olga Sinclair, from 16 to 30 June 1992 at the premises of the Embassy of the Kingdom of Spain, Jalan Haji Agus Salim, Jakarta.

The peculiarity of Olga’s works lies in the arrangement of the form of the human shape, and that of objects (the nature of objects), and the reflection of light rays, whish give form to the sphere of her works as a whole. The arrangement of that sphere with the tendency of serenity and harmony easily reminds people of the tradition of figurative plastic arts in classic Europe, especially the tranquility and harmony of Vermeer (Dutch 17^th century artist). Vermeer’s works are distinctly different than those of the artists Rubens and Greco, which are full with action. It is obvious that Olga produces a personal touch in processing the shapes, which she achieves through "simplification" of the forms. Here we are again immediately reminded of the phases of development of the modern plastic art that have generated the simplification of the form as has been done by Cezanne, Matisse and Picasso, especially during the pre-cubic period.

The simplification of the form has at one time actually led the painting art to new, more fundamental concepts: to see consciously the form or object in its various aspects. So that the objects are able to speak out directly as a piece of art without having to be connected to larger themes (heroic, mystic, religious), which were important, references in the art of the classics.

Olga Sinclair’s simplification of the shape (women) is manifested with the dominant colors chocolate, violet or blue. Whereas the chocolate-green background is dominant in calling up an atmosphere of a dim, meditating space, with playful light ray reflections. It appears that such color features have been successfully processed in such a way that they become marks for interpretation: in the absorption of light rays reflections, contour lines, creases in the clothes, patterns of the nature of objects forming thick lines. The same can be seen in forming the composition of space, the position of the shape of the human body: in sitting condition with arms and legs in position (gesture), up to the expression of the face.

All that has become important artistic and aesthetic elements, that, indeed, makes Olga’s work different from the shapes of Vermeer, the simplification of forms by Cezanne, Matisse, Modigliani, Picasso or Jeihan. Look for instance at the works named Cintas con Tocado de Tul, Las Medias de Marie Claire, Damas con Cesto de Frutas, Bodegón para una Brocha de Fondos, Amarillo para un Bodegón.

The work Damas con Cesto de Frutas, for example, is a unique example of portraying the monumental aspect of two shapes, freely intercrossing light and shadow absorptions. Bodegón para una Brocha de Fondos and Amarillo para un Bodegon are works that are successful in producing a new view on the genre of "the nature of objects" of the classical art of painting.

We can also observe an interesting technical aspect from the efficient use of the brush, where the expressive impression of the color application is not built on brush a stroke that leaves a texture: What appears is the impression of medium pastel colors. This technique is also tempting us to watch from a somewhat further distance, so that it is as if the black-lined contours throw the shapes out of their frames.

Olga Sinclair was born in Panama in 1957 and received her first painting lessons from her father. In 1976 she started academic studies in plastic art in Madrid and subsequently in Panama. Her stature as professional artist has been full with arranging tens of individual or collective exhibitions in the international arena, including competitions and biennales, such as in Mexico, Bolivia, Washington, Madrid, Amsterdam, Geneve, Monaco. In addition, her achievements appear to have received reviews in various international art magazines, while some of her works has since 1989 appeared at Christie’s auctions in New York and Amsterdam.

Exhibitions of the works of foreign artists such as this one have already often been organized, mostly by the foreign cultural centers. The exhibited objects generally attract much interest because they obviously provide richer information and appreciation values. Spain has numerous number one artists, such as Greco, Velasquez, Miro, Picasso and Dali; recognized not because of being successful as a follower of an order but as artists who revealed on order (a new system of values). Such is clearly documented in the history of art and the world encyclopedias.

Achievements like those can be made an issue for further exhibitions by the organizers at the Embassy of the Kingdom of Spain. The faster the better.