Cartography for Trascendence (Santiago, Chile – 2005)

Humans have used maps since ancient times. Some cave drawings whose meaning remains hidden may well chart earthly and heavenly territories.

For some time, I have been researching –both from a philosophical and religious perspective– the transformation of human beings from matter into spirit, and the liberation of the spirit at the moment of death. Also, rituals used in various cultures to accompany and guide dear ones as they make this transition.

Nigerian aborigines, for example, traced true cartographies in the tombs of their dead, providing signposts on the way to heaven.

I am particularly interested in introducing the spectator in this journey of water signals, skies, and pictorial icons. A journey with human beings as the leitmotiv, exhibiting in their hands and skin the traces of their personal journeys and of the process of living their own lives –traces both physical and psychological.

With this in mind, I launched myself into an investigation of digital techniques which allowed a non-material form of pictorial expression, so as to enhance the spiritual nature of the subject.

A melody consisting of 13 movements for piano and classical guitar was composed as a traveling companion, introducing the spectator into this journey. A journey for which the chart placed at the center of the room also serves as a guide.

KEKA RUIZ-TAGLE


CARTOGRAPHY FOR TRANSCENDENCE
An essential roadmap
Keka Ruíz-Tagle induces us to travel on a highway with a multiplicity of lanes, not only visual ones, but also aural, tactile, and the most difficult of all, the byways of love. Achieving transcendence is the desire of every living being since Creation. Keka offers us her formula through figures, symbols, colors, sounds, volumes, spaces, dreams and meditations.

Her objective is ambitious: she wants to envelop us in a totality. She enthralls us with tenuous figures of pastel tones, ethereal bodies that float through life with their eyes set on the Beyond. The music that surrounds the figures of clay and the pictures of visions along the roadside to transcendence establishes a climate that is propitious to following the lines of her cartography, her map in multiple dimensions that is not only traced on the soil of the earth, but that leads us to the pathways of the cosmos, the routes of the constellations, to the sparkling trails of shooting stars, where love knows no limits.

It is a trip through the realms of life and death: from our own humble existences to the sacred memories of primeval ancestors buried in these lands. Keka opens the playing field to a profound reflection on our commitment to the most fundamental in life: the faith and love so symbolically present in her work.

Her proposal, represented in direct and essential images, nourished by the musical composition of Esteban Sumar, might deceive us with its simplicity. This gift of simplicity is, precisely, the charm of Keka’s Cartography: a roadmap that is easy to incorporate. Its significance may be complicated by the public’s reading of its design, but not because of the artist’s intentions.

Edward Shaw


The maps have been created at all times to facilitate the man to reach their destination in a manner more directly and smoothly. The map leads us along the path easier to find our goal, both in a physical plane as one metaphysical.

Today when the identity of the man and his conservation is the main dish in the daily life of contemporary theorists anthropologists. Finding its origin is the most important part of our cultural immaterial. The current artist seeks to create a reflection of the surrounding this issue, in seeking its distinct identity and that of their society, as well as the way to reach this.

Keka Ruiz-Tagle has been given the task of translating this collective body maps, that while we invite a kind of spiritual reflection and religious, are not separated that intangible element that is the cultural identity of Latin American man. With spiritual influences from other cultures but with a strong presence in Latin American value of the color and texture, the sample of Keka invites us to reflect before the immensity of the cosmos and its paradox complexity and simplicity.

The pieces of Keka conducted under contemporary tools that recreates the forefront of the early twentieth century, are a reflection of the intentions and placed by human located within a clearly spiritual plane, reflecting his own experience and invite the search for the intangible .

The work involves us in a universe that allows the observer astral traveling in the search for their own conduct.
José Mario O. Maza Ponce
Director of Museo de Arte Moderno
de Ciudad de Guatemala


Keka Ruiz-Tagle takes us know to a different pictoric contour. Her best old attributes appear pure of narrative sense
and of formal shapes with not much vitality.

They are the fineness of the treatment of the figures and the particular fragile spirit. Everything here is about man and of his social projection giving a central character and by people who sorround them and that establish, sometimes, something like a protective tribe. If the principal creature unfolds with both arms open, a corporal expression of clear resignation, his companions look more hieratic. From this 13 paints computarized. You can see how they look like old in times, then printed over fabric and interfere with a brush. The same happens with the other eleven prints that complete this exposition in isabel aninal galerie.

Such condition, allusive far away, they grow by a group of signs that may tell, routes of astral distance .Some actors look like if they are floating inside the paintings or of the print inmerse in a gaseaos atmosphere of saturated pastry colors.  That immersion effect could be considered also if we perceive their principal characters through a printed glass and covered with graphic signs.

Her protagonists.
Starting with this iconography, the artist keka Ruiz-Tagle modulates an harmonious group of variations. Much of her protagonist appear ones and all, this visions never stop interesting us. So each of them forces the sensation of a unit group that shows off the exhibition. Finally a group of sculptures in ceramic intensify even more the general look of tribial ceremony.
They are 3 human figures, of aborigin and rounded by a frame horizontal and cruciform, of little stones, and a ground traced by signs.
There is no doubt that we are in the present ocasión in front of a new proposal of the artist.
WALDEMAR SOMMER

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