In this artist, the passion for the expressive force of color is part of an essential search for form syntax. Her paintings are the preparation ground for a struggle where form is subordinate to color and subject to the artist's will. The radial and convex forms that emerge are subjugated by color guidelines and they tend to lose any discernible aspect. There is not possibility of winning the battle: the paint's thickness and light prevail over the line design. "Spattering" as technique, assumes the visual surface and blends with color's supreme power. The figurative mannerism is abandoned and images settle in the transitive interstice of figuration and abstraction. There is no doubt about the mastery of the color shown in these canvases.

The encounter with these works produces a singular phenomenological effect. A lyric -a musical writing solidly drawn by its own poetics, which lays the foundations of the pictorial register- springs up along with the sensorial enjoyment provided by the paintings and the fundamental aesthetics judgements cast upon them. Claudia's work embodies an interior sonority and intrinsic poetics. It is the synchronized pre-eminence of textured paint and color transformed into musical element and word metaphor. Forms are practically abolished. So, the spectator is before a colorful concerto that takes him into "another" Nature. One made out of other calligraphy, other music.

Claudia Bardasano defines the conditions of her pictorial poetics through the paradigmatic -for instance, a red tone selected from an infinite range of colors- and syntagmatic -the delimitation of red by other colors on the canvas- coordinates of her color-language. Ochre hues are red. Ultramarine hues are magenta, cadmium and blue. Mauve and purple tints are violet tones, and shades of green and yellow, that of cadmium. However, there are also ascending, in crescendo and sharp musical notes sketching the spectator's acoustic scenery.

C'est d'embrasser the chose d'un seul coup -we say along with M. MERLEAU-PONTY - to "apprehend" the rhythm of calligraphy and music.

The formal and sensitive conditions of color posed in these paintings force us to look for its organic ontology. Nevertheless, that would not make any sense. The whole work would be reduced to a simple grouping of colors dominating forms if it were not sustained by an artistic entity: THE CREATOR. This is why KANDINSKY says: Art stems from «THE ARTIST». A mysterious, enigmatic and mystic creation given off by him/her, which holds autonomous life and develops a personality. Independent character animated by a spiritual breath. Living organism provided with real existence: A BEING" (W. Kandinsky, Point and line on the plane). In our case, the artist's and the work's ontology bind through convex axes: color, music and writing.

This creator, after undergoing a maturation process, achieves the consolidation of a plastic proposal, which despite being bounded to the new tendencies of landscape-painting, contributes with the value of its specificity: texts of colorful grammar. Now, it is to us to interpret and "read" this semantics.  

Caracas, 20 November 1988