Tree of life 2012

Editor: We’re looking at "Tree of Life," a 2012 painting by Marina Pallares, rendered in acrylic. There’s such an enchanting atmosphere to it. I am intrigued by the symbolic presence of fish seemingly floating above. How do you interpret this particular construction of form? Curator: Intriguing observation. Focusing solely on its compositional structure, notice how Pallares creates a fascinating tension between the earthbound tree and the celestial impression given by these aquatic elements. What is interesting is that these shapes provide the sense of movement upwards into an indeterminate ether. Editor: What do you mean by “indeterminate ether”? Curator: Consider the canvas. There is a limited horizon line in darkness to provide us perspective, and within that absence, Pallares’ uses of color and shape disrupt any classical perception. The composition deliberately denies spatial understanding to move beyond objective representation. Editor: It certainly seems to subvert any logical approach. What then, is she really showing us? Curator: That becomes the fundamental question, doesn’t it? Looking at the figures gathered below, seemingly joined and unified at the foot of a nurturing and life-giving form. Consider too that they lack defining characteristics in their anonymity. It becomes a pictorial analysis about human presence in nature; as the painting asks us to consider what it means to be alive in tandem with something monumental. Editor: So, instead of searching for external narratives, you're urging us to delve into how Pallares manipulates form to express ideas about life. Curator: Precisely. The key to grasping the ‘what’ of art lies in a deeper comprehension of the ‘how.’ Editor: I’ll keep that in mind moving forward. I realize I tend to look for external contexts and miss internal mechanisms of a piece.