EUPHORIA AND FURY OF PAINTING (By Manuel Lleo, writer).

One workshop has reached self-absorbed, perhaps upset or worried. For painting or for life, for what you left behind or the blank canvas in front of you and wait in the stand. But here comes Nancy and brings with her self-confidence, vitality and sheer energy, joy, talk ... provision. Perhaps the word is euphoria, perhaps excitement.

In any case, a force that soon will be unleashed in strong, swift strokes that came in the saddlebags of their desire to paint. And this is how easy and expressive drawing, early and the first nodes of the mess that binds us in every frame.

The party begins. From this initial sketch, which already guess more later, you will unleash a storm of doubt and hesitation, of protest, of unanswered questions and a fierce confrontation between the artist and his work.

It is time the anger and tension, the inevitable clash between two living beings: the painting and the artist. It should go away.

I attended that fight many times and say very quickly that there will not be Natalia knock leave just like that.

Probably, for many artists, there is art if not in this way, as joyous fury is a simple correlation, an inevitable and dramatic essence of the processes of creation. Natalia at least, unlike others, does not live the certainty of the futility of any effort and despite certain inclinations, call them destructive, will handle the rush and ended up winning the battle for its particular way to the requirement, and resistance work.

At the end of all this bustle appear radical and sign the result of a transient voltage. A work force built to break down barriers. So, back to joy won the art.

Natalia is painting: true, passionate hopelessly romantic to the core and paradoxically elated and unleashed until the end. Akin to the Norse and Germanic paint their faces come from Francis Bacon, its stations and trains more cinematic realism and the grotesque and impossible futuristic city of Metropolis by Fritz Lang. This means that film and especially the expressionistic influences all his work and color, which in his case it is a noticeable absence.

Unlike the meaning of that sentence of expressionism "life color is yellow," its color is yours: just and sufficient, all the difficult tonal quality of the clear and dark.

And above all seemingly innocent pictures but satirical and allegorical, in the background, question the progress and society. Painting tender and lyrical, while apocalyptic and, above all, particularly powerful and emphatic. Perhaps as herself.

Manuel Lleo