‘Ladies’

The exhibition of Sandra Olivé’s ‘Señoras’, a poignant collection of women portraits, is over, but you can always visit her website for exemples of her work.

Here is a taste of them:

Painter Mireia Mateo on Instagram

The way artists get into contact with their public is changing. There are a lot of painters of your generation and even younger who use Instagram as a platform. How do you live this transformation?

Like torture. I would like to spend the whole day in my studio without having to explain myself, without doing anything that is strange to my small world, but we live in the now and we just have to be part of this absurdity. One sees oneself obliged to enter in these networks and I feel very reluctant to do so.

Source: Ada Castells interviews Mireia Mateo in the digital cultural magazine Catorze. For more information about the painter, click here.

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Poetic Universe (charcoal, pencil, sanguine, Japanese paper)

Art and NATO

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Photo: ACN

Last Friday visual artist Bea Sarriàs finished the painting of a mural in the corridors of the new NATO Headquarters, a complex in Haren that is part of the City of Brussels (Belgium). This feat is quite unique for an institute whose daily affairs seem light-years away from art.

According to Bea, the imposing structure of metall and glass is ‘a very cold space, very big, a bit dark.’ As she wanted to capture the soul of the building, she used acrylic painting in multiple layers in order to ‘catch its light and transparency’.

In former projects, especially portraying specific architectonic spaces  like her portraits of lived in houses, critics have praised her careful handling of perspective, light, color and a clean brushwork. These elements are clearly present in this wall painting.

At the end of February Bea started working on this project making the first sketches in a studio in the Belgian capital. Later she continued working in situ on this enormous piece of art  which made her change her use of colours.

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The assignment proceeded from the Art Committe of NATO that had seen Bea’s work a year earlier during an exhibition which took place at the same time as the inauguration of the new political and administrative headquarters of the Alliance.

For more examples of her work, click here.

Elsa Fábregas: the art of dubbing

‘As God is my witness, I’ll never be hungry again!’, swears Scarlett O’Hara at the end of the movie Gone With The Wind (1939), one of the most famous quotes of film history. At that time in Spain every motion picture was dubbed, so the Spanish public never heard Vivien Leigh’s voice making this oath. But it was made unforgettable in their language  by Elsa Fábregas (1921-2008), a dubbing artist who was at the beginning of a long and successful career. Advocates as well as opponents of revoicing recognized her big talent which made her one of the most important artists of Spain.

 
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Foto: Joan Sànchez

Elsa made it to the top, because she mastered every single technique and gained expertise of the art of dubbing. The first principles were revealed to her by her aunt Marta Fábregas who in the 1930s already was a great and well-known dubbing artist in France but had moved to Barcelona to look after her orphaned niece. Marta continued her work in Catalonia’s capital and took 13-year old Elsa with her to the studio of ‘La Voz de España’, one of the first and most significant dubbing studios in Spain where she was a successfull director. Soon after this introduction Elsa played her first rôle; after that her dedication to her work, discipline and experience made her into a great dubbing artist who performed in 819 films during her 73 years of active life.

Techniques
During her long career she gave her voice to a long list of actresses who displayed different speech characteristics, speed was one of them. This could present some difficulties: at times Elsa was close to despair. For example when working on Glenda Jackson who to her seemed to talk like a machine gun, a complex task as the dubbing voice somehow has to coincide with the movement of the actress’ lips.

Moreover each character, rôle and scene requires another way of speaking. Apart from the ability to adapt oneself to these particulars, dubbing also means you should be able to learn the text by heart in order to give the dialogues its original brillance and sincerety. A great sense of hearing and a feeling for the music of words is needed. With just saying ‘hello’ you can convey an infinite number of emotions (cheerful, annoyed, gruff, absent-minded). Not mentioning the physical aspects of the work, like controling the breathing process and using all the vocals when laughing.

Censorship and anecdotes

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