The art of ‘Rebirth’ | News Diario de Ávila

The art of ‘Rebirth’ | News Diario de Ávila
The art of ‘Rebirth’ | News Diario de Ávila

It sometimes happens that those who are extremely shy and jealous of their private life find a way of communicating with those around them in ways other than traditional conversation. And our protagonist today felt at the age of 17 that she could express herself perfectly using brushes and canvases. Because Amaya Corbacho uses each of her works to, in one way or another, open a little of her heart to those who, generally ecstatic, contemplate some of her paintings.

Amaya speaks, then, in her works. And in those that she exhibits throughout the month of July in the historic cloister of the Hotel Los Velada, she talks about the ‘Rebirth’ (the title she has given to the exhibition) that she has experienced on a personal level in recent years.

These are hyperrealistic paintings, like those that mark his already prolific career. Or a ‘magical realism’ that captivates and makes the viewer doubt whether what they are looking at is a painting or a photograph.

Paintings that, on this occasion, are full of angels that, to a certain extent, are a tribute to those who have helped her in these difficult times on a personal level, but fruitful on an artistic level. “The truth is that it is a very intimate exhibition,” Amaya admits to Diario de Ávila, who explains to us, for example, how in the painting ‘Ofelia’ she wanted to include a Phoenix, as a symbol of that resurgence; or how in ‘Divine Motherhood’ she sought to make “a song to hope” thanks to her reunion with God.

“When I start painting, it’s like I’m meditating,” continues the artist from Avila, who admits that when she picks up her paintbrushes she escapes from the world. So much so that on many occasions it’s hard for her to leave her studio. “I have to force myself to do it,” smiles the artist shyly, confessing that she is particularly excited about this exhibition. She feels that it is the best way to be able to show the public works that normally hang on the walls of her house. “I love seeing that people enjoy them,” she confesses.

These are paintings painted in recent years. The vast majority of them have never been exhibited before. Like the ‘Pastel’ that he finished last week: a small-format painting showing one of his daughters as a baby and for which he chose precisely that technique. “I wanted to try new things,” he says.

Because Amaya uses different materials in her paintings: from oil (with which she says she feels very comfortable) to graphite or charcoal. The choice, she explains, varies depending on the size of the work or its subject matter.

Among her upcoming projects, she tells us, is the possibility of showing her exhibition to the blind public. “Because it makes me very sad that they miss out on this part of art,” she answers, and assures us that, in addition to putting the labels of the paintings in Braille, she intends to be able to share each work with them through touch and its textures: from the relief of some leaves to the brushstrokes used on the hair of one of the protagonists.

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