No excuses.

Not even a ton of excuses will be sufficient to open new doors.

Among the Trees(Before)

Amongst the trees

 

I have placed my house in the woods, architecture between trees.

There was the old foundation and a few small trees, slowly but surely and without touching any roots, I have added more volume with care, introducing it into the woods without any invasion. There are now steps between the pine, almond and mandarin trees. Natural stone steps lead up and down, interact and dialogue with the various levels of the prehistoric terrain.

There is a single exterior color code which moves you because of its simplicity, the white, and the abundant, all-enveloping green of the environment. Each surface has been treated one by one, instants of my life, until achieving that it, the house, has acquired its own life, even without me.

I have given it the sensibility and the knowledge, it gives me the warmth of a conventional space, which is my style, and which I share with my beloved.

 

Entre arboles

 He colocado mi casa  en el bosque, una arquitectura entre los  árboles.

 Estaba la cimentación antigua , y unos pocos árboles pequeños, poco a poco sin haber tocado ni una sola  raíz  le  he  ido añadiendo volúmenes  con cariño,  introduciéndolos  de una forma  muy poco invasiva en el bosque.  He insertado escalones entre pinos, almendros y mandarinos. Escaleras de piedra suben y bajan  e interactúan y  dialogan con los  desniveles del terreno prehistórico  .

Hay un código unicolor exterior que emociona por simple , el blanco, y el abundante verde envolvente del entorno.

Cada superficie ha sido tratada de una en una, instantes de mi vida  hasta lograr ella, la casa , la propia ya sin mí.

 Yo le aporte la sensibilidad y el conocimiento, Ella me  da el calor de un espacio convencional, que es mi estilo, y   que comparto con mis seres queridos.

Las chapuzas en Alcalá de Xivert de la administración Valenciana en 2014 / Botched jobs by Valencian administration in Alcalá de Xivert in 2014

Hay algo verdaderamente importante para mí que no he conseguido este año. Deberé seguir luchando el que viene, y es evitar que corten parte de esta pinada donde Iberdrola  pretende colocar una torre de luz. El proyecto no tiene ningún sentido ya que donde se supone que tiene que llegar la electricidad es un polígono industrial desierto donde se invirtió mucho dinero, hace  ya seis años, aquí la foto, y con muy pocas perspectivas de llegar a funcionar, no se ha vendido ni una sola parcela, pues se encuentra al lado del cementerio opino yo.

Si fuera necesario hacerlo, la finca de al lado se encuentra vacía y abandonada. No tiene sentido la desviación hacia los pinos, que por cierto son míos.

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There is something truly important I have not been able to achieve this year. Next year my fight against Iberdrola will continue: I will stop them from cutting down part of the pine trees where they intend to place an electricity pylon. The project makes no sense whatsoever. The plan is to place the pylon there in order to have an electricity supply reach a deserted industrial estate. A lot of money was invested in it, already 6 years ago, however not one single plot of land has been sold, I believe due to its closeness to the cemetery.

If it were truly necessary to have the pylon there, there is a plot of land right next to the pine trees which is totally barren and abandoned. The deviation towards the trees makes no sense at all.

 

 

 

 

 

 

Logros / Achievements 2014

 

Esta balsa ilegal en activo ha estado siempre sujeta a una licencia ambiental que nunca tuvo, aunque ha seguido funcionando sin ella durante años. Por primera vez, el Ayuntamiento de Alcalá de Xivert por fin ha escuchado a la Comisión de Análisis Ambiental Integrado de la Conselleria Valenciana, a pesar de haberla mencionado yo en mis alegaciones hace tiempo, y ha requerido a lo largo del año 2014 a 'Aceites Chivert' una documentación actualizada, que jamás  presentará, el impresentable del aceitero. ¿Por qué? Pues porque le piden el REDISEÑO de la balsa ilegal maloliente, que nadie le pidió antes. ¿Y por qué no lo va a hacer el Sr. Cherta - el propietario de la instalación podrida? Pues porque a pesar de no tener licencia, ganó un juicio que yo perdí. ¿Sabéis que alegó la juez Laura Alabau Martí? Pues "que no constaba que la actividad produjese molestias u olores, pues la actividad sujeta a múltiples controles obtuvo su correspondiente declaración de impacto ambiental".

¿En qué quedamos, la tiene, la tuvo, la licencia ambiental, o no la tenía y sigue sin tenerla? Además añadía la Sra. juez en su sentencia de Marzo del 2011 "hay que producir aceite y en algún sitio hay que poner la balsa, estadio de alpechines putrefacto".

Aunque contamine.

Aún espero la sentencia del tribunal de mi recurso que fue admitido a trámite hace tres años y medio.

Para mí este es un claro caso de prevaricación por parte del Ayuntamiento de Alcalá de Xivert, se está favoreciendo a un mal vecino en detrimento y asfixia del resto del pueblo mudo.

La buena noticia es que ya no echa alpechines a la balsa, y aunque ilegalmente los echa a la finca de al lado, la Comisión de Análisis Ambiental Integrado está haciendo bien su trabajo tomando cartas en el asunto.

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This activity has always been conditioned upon an environmental permit which it never had, and in spite of this has been operating for the last 14 years. The Commission for Integrated Environmental Analysis has finally spoken (it is the first time I hear city hall refer to them), after having mentioned them in my original allegations. The city administration has taken one entire year requesting a documentation from Aceites Chivert which they will never, ever produce. Why? Well, because they are asking them to redesign the illegal, ill-smelling deposit, something that no one has ever asked them to do before. And why will Mr. Cherta - the owner of this rotten establishment - not do it? Because City Hall won a lawsuit which I lost. Do you know what judge Laura Alabau Martí said? “There is no evidence that the activity is molesting or causing bad odours, as it has been submitted to previous controls”. I know that this is not the case. And, in addition, they received a positive environmental impact declaration!

What are we left with? Does he have, did he have it, that environmental permit, or did he never have it and continues without it? “It is logical that an activity like this emits smells, and since it is located on rural land, oil must be produced” is the ending of the sentence issued in March 2011.

Ah, and what? Where would he put this deposit full of oil chemicals the size of a football field which does not molest anybody? I am still waiting for the appeal sentence by the court that admitted it 3 ½ years ago…

For me, this is a clear case of legal abuse, a bad neighbor is being given preference over the rest of the village which suffers in silence.

The good news is that he no longer empties the industrial remains of his production into the deposit, he now dumps them on a neighbouring field. And most of all, the integrated Environmental Analysis Commission of Valencia State Administration is doing well and taking charge of the situation.

Now, that I remember.( Paco Lorca)

It called my attention that when this exhibition was being planned, there must have been no need to give it a title, and maybe that was because it circles around the painter, without any more baggage other than her name. For sure, when you arrive at the Orfila Gallery, you discover that the various works do not show this repetitive uniformity in order to provide a homogeneous aspect which one so often finds at art exhibitions. In this case, each work by Maria Aparici, each canvas is a state of emotion, an explosion of sentiments which go from the exhaustion of a hot day to melancholy of another grey and rainy one, passing relaxation and observation, up to, like a photographer friend of mine used to say “the let’s go criticize”. Writes Aparici: “ I think that art has to reduce the distance between artist and spectator, in the hope that the image remain in the latter’s memory forever”, and this seems to be the title for this exhibition, she herself, her state of mind and the intent to perpetuate each one of her feelings in the spectator’s mind.

 

Each painting seems a moment, and according to the author, “the combination of my mental state and my personal observations is what I translate into my work”. Her work is vigorous, even explosive at times, with the force that is expressed by a wide brush stroke, a decisive and profound stroke and a composition in which the protagonist, a person or an animal, almost always a dog, travel to the front without forgetting a secondary personage who seems to be observing the scene from a second level. The composition reminds one of German expressionism, I hear someone say “I am reminded of Kirchner”, even if it does not have the tortuous and bitter expression of his personalities; in others, the intensity of the work moves toward abstraction and the protagonist becomes diffuse like a thought between shadows, lights and wishes that are difficult to express if not by way of intuition because each painting is numbered and I can hardly read the titles in a separate note. And I like it this way, because I like being guided by the spectator’s intuition.

 

Each painting is a story, I continue to think, and whilst I think about that, a new visitor enters the gallery. She is intrigued by the smell of the room: it smells of canvas, paint and oils. It is like entering the artist’s studio, and in the room’s silence – the music finished a while ago- the visitor is only accompanied by a soft smell of oil and dissolvent, like certifying the authenticity of the work: “Oil has the virtue of enforcing itself, to extract color with the passage of time. The painter who works the light cannot paint with any other element that is not oil, the vermillion, the cadmium..” and this is what seems to happen with these two very elegant women – Two very Elegant Ladies- which hangs in front of the visitor.

 

I move around the room like an orphan, for not having met the painter in person, move from painting to painting, from story to story, reading the catalogue, trying to find something that would take me to a specific moment, the original thought: “in only one single day, we suffer different appearances, severe ones, sad ones, warm and violent ones, passionate ones..”

 

And following the rhythm of these recent days, in which I almost miss some exhibitions for arriving late and the time does not leave me space to reflect, to absorb the works and digest them, I dare write only about my first impression, someone else’s spoken thought or my own, in order to retain, like I read at the beginning, the images so that they may remain in my memory and to be able to transmit them with the extraordinary force, the violent and passionate gesture which seems to rest in every one of these canvases.

 

 

 

Working on the English version

http://aqmapacolorca.blogspot.com.es/2014/11/maria-aparici.html?spref=fb

The Birth.

 

My women are not misogynistic like Picasso´s, decorative as with Matisse’s, or imbued with a sense of decadence like Kirchner’s. My women are remarkable for their truthfulness, unique for their sense of happiness, and their thoughtfulness is totally independent from older and newly established forces.

 They are not even allegorical nor symbolic,  and they have very  positive attitudes without worrying over deeper meanings. They are courageous enough as for breaking free from accepted conventions.

My women are me.