madrid

Tamara Arroyo, Family Volvo, 2010, ink on paper, 15 x 22". From the series Ejercicios de memoria III (Memory Exercises III), 2010.

Tamara Arroyo

Galería José Robles

Tamara Arroyo, Family Volvo, 2010, ink on paper, 15 x 22". From the series Ejercicios de memoria III (Memory Exercises III), 2010.

Better than any of Tamara Arroyo’s exhibitions to date, “El arte de la memoria” (The Art of Memory) summarized her concerns as they are expressed in drawing. The title correctly posits memory and its relationship with artistic representation as the focal point of her work. Although her oeuvre is polymorphic (Arroyo has also used photography, architecture, video, and so on), it finds in drawing a precise medium for formulating analysis and venturing suggestion. The artist herself has no doubt about what she wants to intimate; for more than a decade, her work has involved the recovery of her past by means of images purportedly documenting her childhood. At the same time, Arroyo has never ceased to be aware of the fact that the exercise of memory entails invention, distortion, and falsification. She highlights the element of fantasy that all manual representation involves, establishing

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