Fernando García Correa created a suite of monoprints that reflect the hypnotic nature of his paintings. His repetitive, hand-hewn lines undulate irregularly to the edges of the plate creating visual reverberations, a motion which jiggers the eye to frantically seek a center place. Because of this sensation, Op Art references will inevitably be made in trying to place the artist’s work in a particular context. But García Correa moves the viewer beyond those particular concerns and towards comprehending an underlying system that self-generates– a system that at once dictates and becomes a graphic depiction.
In the monoprints published during his residency at Aurobora, García Correa used both Plexiglas drypoint plates and etched copper plates, each affording the artist different line qualities. In a few compositions, García Correa also introduced a trace monotype technique which afforded him additional line textures. In the process of over printing a variety of intersecting and crosshatching lines, García Correa multiplies the complexity and pulse of each work. Sometimes the compositions remind a viewer of torn segments of fishermen’s nets or microscopic close-ups of fabric weavings; other times, they resemble the calibrated readings from lie detectors or seismic monitors. Ultimately, the intrigue created in these works on paper comes from the unexpected beauty captured both in and between the lines.
SELECTED COLLECTIONS
Fundación Universidad de las Américas, Puebla, MX; Museo de Acervo Histórico y Artístico de la SRE; Ministerio de Finanzas, París, France; Museo de Arte Contemporáneo Alvar y Carmen T. de Carrillo Gil. D.F, MX; Museo de la SHCP, Antiguo Palacio del Arzobispado, MM; Museo de Arte Abstracto Manuel Felguerez, Zacatecas, MX; Fundación Cultural Omnilife,Guadalajara, Jalisco, MX; ICY, Mérida, Yucatán, MX; Museo Universitario de Ciencias y Artes (MUCA); Banco de México; Museo de Arte Contemporáneo de Oaxaca (MACO), MX
