Capi Cabrera presents in Pintura y Espera the certainty of her intuition. The apparent randomness of the exhibited work is the result of learning (un)doing, of knowing how to intuit the event before it happens; something as moving as the human need to understand oneself through mere existence.
The artist paints on lightweight supports, transparent cellulose acetate and acrylic, with the function of healing, which is not the theme: it is the usefulness of the useless, a paradox resolved by Ordine in his beautiful book The Utility of the Useless. Manifesto, when considering useful everything that helps us become better, without the desire for profit. Capi has a fondness for the glossy surface of synthetic enamel and saturated fluorescent red. She understands the importance of magic and the meaning of technique. She knows about the mechanics of fluids. The engines of her painting are three: the energy of necessary waste, the delicate gaze, and the synthesis between the gesture and its mark. Pintura y Espera is also, perhaps, a metaphor for the undeniable wall, the plane upon which the painter projects her poetics while life unfolds. It does not express time. It does not represent the moment. It encapsulates it. When she flips the acetate, the millimetres of the pictorial load disappear. The brushstrokes reappear as if on the illuminated screen of a monitor. Sometimes she halts the gesture. She waits. Sometimes she tenses the movement. In this way, she teaches us, with playful methodology, the back of her painting, the hidden layers, the unusual nature of events.
