2009 – 2017
BETI VERVEGA- THE PRESENT AS RHYTHMICITY
Starting with her debut, since ‘’90s and up to now, the evolution of the artist Beti Vervega looks like a continual and obsessive returning to present, to a cycling and ever changing one, experienced as an unique and contingent form of eternity to which, existentially speaking, we might have access to.
Questioning and constantly experimenting the visual tools that she works with- colors, spatiality, connections and rhythms, techniques and different painting materials as a base, her creation is marked by a personal inner analysis as well, which is exactly the reason that made her go through more creative and very distinct phases, all proven by her personal exhibitions, not many, but excellent. From the influence of the advertisement tide and the inflation of videos in the ‘90s, to the neo-expressionist realism incorporating different human characters at the end of the same ‘90s and the beginning of 2000s, from the exotic cycle inspired by her African experience of the 2000s to her present series of paintings, Beti Vervega remains first of all an explorer through vivid, aggressive colors of an external- internal reality, an adventurer of the psycho- chromatic intensity, so close to a scream.
And here she is in her new series of paintings called “Connections”, taking a leap into the unknown, leaving behind the expressionist gestures and suddenly approaching an almost non-figurative level of the pictorial expression.
Her present paintings- either very big or small, talk about repetitive representations of a certain pattern that depicts in a geometrical manner an organic shape (such as a hand or a wing). Placed on beautiful shades of warm and cold colors, these patterns build up large lay-outs of pure signs and abstract rhythms – they speak, fist of all, about a certain vibration.
I would say that her canvases are now “vibrational fields” that leave behind the hint to the concrete level of perception in order to get closer to an untouchable, rhythmical reality of waves and energies that shape up the profound structure of our whole world. Strange and energetic in their slightly decorative, but pulsating look, these images live out through the visual and subtle changes between figurative and non-figurative, between visible and invisible, between lived and non-lived, between expressible and non-expressible, between interactive and moment by moment. And, it seems to me, they have a certain target towards the mental universe, which we can now access like humanity, marked by the adventure of the scientific knowledge, which becomes more and more abstract, and the penetration into the incredible abysses and the material world. In other words, they strongly refer to present – that cyclic and repetitive present, in spite of the change, lived like a contingent form of eternity that I mentioned in the beginning. A present fully lived within its pure repetition. A discrete, but of an extraordinary tenacity, which lies in the constantly explored awareness of her own value, I believe Beti Vervega becomes a very important name of her generation.
Magda Cârneci