Synthetic imagination, hers. Even though Magdalena’s apparent intentions were to “construct” her work based on a very rigorous system of formal and thematic contrasts –light/darkness, heaviness/lightness, space/shape, distance/pertinence, nature/technology- she found herself profoundly absorbed by the sense of emptiness present in space.

Lights, transparencies, days, nights, wind, rain, you will see it all changing slowly.

…everything is united by the teller. The quality of her work resides in the fact that even though her eyes can become the eyes of the spectator, the resulting liberty of interpretation is not constrained.

And meanwhile you ask me, How long will it take the next time to move among the lines of the lines?

…and also the corporeal. The development of her installations taking in consideration the human proportion, in such a way that he or she feels an integral part of them. Not only his movements but also the spectators’ point of view is important.

She could answer me that it is a way of pastime.

…visual strategies that set us apart from emptiness. Thus the feeling of immensity in an infinite, almost auto sufficient, exists: geometry, modulation, symmetry, movement.

But I cannot avoid the sensation that some day it will take too long.

…few contemporary examples with such a sensitive view to form space, giving us the possibility to live an alternate specialty, a graphic fantasy.

Thanks for being able to help… and look.

Julia Zurilla
"Caras"
Caracas, 2002