The emotional landscape
Mood, atmosphere and synchrony do not depict a landscape as a complete still entity but rather an ever changing, fluctuating being with nuances that determine how we see ourselves in it: a construction that does not have to do with permanence, but exists and changes culturally and historically.
"Stimmung" is the internal monologue of my reflection in the landscapes, in which I integrate the body to create scenes fusing with the other elements of nature. The surreal shapes imitate body structures and backgrounds in which it is introduced in intriguing ways. Sometimes, the body merges with the space and vice versa.
The name, stemming from the German word: Stimmung, is of key importance. Simultaneously means mood, humor, spirit, climate trends, moral... The body acts as a catalyst of the atmosphere, and the landscape reflects the feelings of the figures. All that is undisclosed. The location of a mystery engulfed in the nightfall. I call upon the beholder’s empathy. I believe in the landscape as construction of the human mind, even though it also undeniably exists in esthetic terms "per se". It is first and foremost, an act of seeing and feeling to later be interpreted by art, tuning upside down the process of creator-observer-creator.
Regarding the concept of "landscape Stimmung" by Simmel: The landscape is manifested through the perception and imagination of the viewer on the various elements of nature, projecting their states of consciousness in what they see.
Ritter in "Landscape" maintains that the landscape is a mental construct: it is the human who gives meaning to landscapes and feels the need to transform it into art. The landscape shows the human need to feel close to nature as well as to cherish its beauty. It is a spiritual form that combines our vision and creativity. Landscape as an awareness of where I stand, where life happens. Nature has the ability to render us minuscule when we integrate ourselves in it, while still connecting us with a sense of existence and common belonging. It is our image of the world that reflects our emotional state.
Irene Cruz takes us to a very particular setting, in which the atmosphere is perfectly studied and calculated and fulfills the need of the artist to capture specific and differentiating elements. That particular light of the sunset, understood as the transition between day and night, creates a mysterious environment, inviting us to submerge into every corner of the image. It is in the northern European countries where Irene finds this cold light that provides her work with a meaning.
This is one of the distinctive features of the Spanish artist’s work, while simultaneously lets us to see forest landscapes that surround the nude female human figure granting the scene a sensual aura and a strong sense of what is being represented. Human figures try to hide from the camera’s gaze by avoiding direct eye-contact with eyes of the beholder. The artist interest is mainly focused on the expression of emotions and feelings from a more universal perspective.
Ruth García, Plastikè Art Gallery Review