BIOGRAPHICAL REVIEW

CONSUELO VALLINA GONZÁLEZ  was born in Oviedo (Spain).

Drawing and painting studies at the Arts and Artistical Occupational School of Oviedo.

Took a degree in Applied Arts in the specialization of interior design field at this same school. Contemporary tapestry in Barcelona (Spain) and Poland. Drawing techniques at the International Graphic School of Venice.

Children´s painting expression courses at Rosa Sensat School in Barcelona and Educational Action in Madrid.

During 15 years she managed a studio dedicated to children´s painting expression where her pupils succeeded in winning great many regional and national prizes.


She has also been teaching at the International Graphic School of Venice and Rome and the Atelier Aperto of Venice since 1.985.She attended many seminars related to the art´s world.

In September 2.000, an INVESTIGATION REPORT has been read by Miss Carolina Rodríguez about Consuelo Vallina´s works in the Geography and History Faculty of the University of Oviedo. A doctoral thesis is being developed nowadays.

.... “When Consuelo Vallina, according to her own words, begins to work she has nothing at the begining, neither canvas, only materials, as a sculptor has mud to model, she develops her work, she labours as if she composes music on the spur of the moment, without score, improvising, but following the technique´s precepts, and being influenced by her pictorial past; that is to say, she follows her own line of work, but feeling free at every moment, beeing surprised, cause if she knew the final result, she would not do it. She looks for the surprise to get in touch with the general public as she believes that a piece of art work is only totally finished when it reaches the others”.

“She also tells us that though her style should be studied by the specialists who dare to face lyrical abstraction, starting by Rothko (although she considers him to be much more dramatic than her), Tapies’s raw materials (in spite of thinking he is much more committed than her poetic manner) and certain Klee´s paintings....”

Anyway, she confesses herself to have eclectic artistic likes; the possible influences in her pictures have never been sought for, moreover her artistic career has suffered a clear evolution throughout the time .


To conclude, she carries out a series of reflections on her own inspiration from the popular art and its music, the lyricism, the colour´s symbolism, as well as something of “Zen”.

She also claims for the anonymous women´s works, the “useful art”, the “art for life”. Likewise, the Mediterranean cultures, the Maghrebians, the Africans, the Spanish Americans....as well as popular feasts and the Spanish craftmanship. That is to say, the characteristic cultural cross of the 90´s.

We are dealing with a strong personality (vital and artistic) which is reflected in her paintings.

CAROLINA RODRÍGUEZ

DIARIO EL COMERCIO FROM GIJÓN 23 RD MARCH 1.990

.... “In the city museum of Gijón, Casa Natal de Jovellanos, a wide exhibition of Consuelo Vallina, one of the current Asturian painters most worried about the materials´ search. Consuelo Vallina, who dealt with tapestries and whose name appears among the first artist in Spain in this genre, prepares herself the material which she makes her paintings with”.
“Works of an abstract lyrism, delicate and almost poetic tones that seemed to be pulled out of a remote past, of the tomb of a pharaoh in love with art”.

VÍCTOR ALPERI  WRITER

.... “When I arrived at your exhibition at Lorenzo Colomo Gallery, I had already seen your pictures before looking at them. Then I thought (I could almost see them) about the dyers from Fez and Marrakech, that is why I saw pieces of yourself, painter and traveller in love with that south made of mud and sun, and built with the blown air from dunes and ochre and orange Kaftans as her same skin, burning sky in the afternoons on the edge of the desert; that blue coming from the doors and windows painted in Greece, Crete and Lybia....Looking at your pictures, you desire to touch them, to pass your fingertips on them as when you pass your palm on the grass”.

MANUEL SIERRA PAINTER