An Aesthetic Transference in Abstract Art .. Review of Gisela Gaffoglio's Artworks
by Dr. Mohammed Sameer Abd Elsalam Art Critic In her abstract artworks, the Argentinean artist Gisela Gaffoglio rediscovers the ancient, joyful, aesthetic impact of the images of homes through the Spontaneous movement of color in abstract vision. On the other hand, she created two structural relationships between the music of abstract color and the dynamic presence of object; the first is the formative dialogue between the Improvisational, abstract color and the originality of the space or the home, and the second one is the transference movement between color and object, that Gisela alternated between the phenomenal object in consciousness and the loud, joyful, abstract colors on the artistic area in the same time, therefore, she deconstructed the central semiotic, semantic structure, and supported superfluity of images and their deep, hidden layers in consciousness and unconsciousness. She also reminded me of Jacques Derrida's perspective on semiotic transference of writing, so the viewer of Gisela Gaffoglio's works will recognize these alternative, musical movement of signs and spectral, liquid things in the same time. Abstraction, according to Gisela, is meditative, because she celebrated feminine daydreams and old, wide spaces of unconsciousness under the free, sympathetic, abstract colors. So, she reminded me also of the concept of the imaginary energy of anima in Gaston Bachelard's perspective, that the signs of homes seem to be dreamy and soft in the poetic skyline. In the context of abstract expressionist views after Jackson Pollock, Mark Silverberg confirmed, in "Neo-Avant Garde" which edited by David Hopkins, the process art and creative behavior of Pollock in his later works (1). Furthermore, we find also the abstract, Improvisational signs in some of Gisela's works, such as the free playful colored wind, some creative arrows, the liquid, gray homes, deep triangles and the soft, geometric, shiny colored squares. So, these rich, spontaneous signs imply to both interior, subjective, immediate feeling and originality of things in collective unconsciousness. In addition of this experimental, subjective movement, Gisela constructed her works by interaction between the musical impact of dense, loud colors and open, capacious light gaps, so she opened a wide area for performance, artistic additions. Moreover, we can reproduce these semiotic, semantic relationships, which were created by Gisela, by the semiotic, semantic square which was founded and developed by Algirdas Greimas and Jacques Fontanille, that we can reveal the structural discordance between semiotic transference and the image of realistic object, that the work celebrated the alternative sign like the interaction between home and soft red square or colored wind, and it implied also to a home with windows. On the other hand, in the bottom of the semiotic, semantic square, we recognize the hyper abstract, musical designs, like the liquid, spectral home and colored, deep triangle, and we recognize also the hyper presence of object as phenomenon in consciousness. Finally, I confirm that Gisela(2) made a new, feminine, musical impact by discovering the deep joy of soft, geometric colors and gaps.
*Notes:
(1) Read, Mark Silverberg, Working in The Gap Between Art and life, Neo-Avant Garde, Edited by David Hopkins, Rodopi, Amsterdam, New York, 2006, p.37.
(2) Watch some of Gesila's artworks at:
Dr. Mohammed Sameer Abd Elsalam
Literary Critic
Art Critic
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