The La Regenta Art Center yesterday hosted the presentation of the monograph number 65 dedicated to the artist from Gran Canaria, by the historian, curator and researcher Laura Teresa Garcia Morales, one of the greatest experts in the work and career of the painter; accompanied by the BAC coordinator, Carlos Diaz-Bertrana; the artist’s son, the journalist Míchel Jorge Millares; and the Deputy Minister of Culture and Cultural Heritage of the Government of the Canary Islands, Juan Márquez.
“I have not stopped making new discoveries around it,” says the author.
Co-author of the catalog Jane Millares Sall. Diary of a painter (2012) and author of the investigation Jane Millares Sall. Identity, gender and tricontinentality in the Spanish ultra-periphery (Sílex Arte, 2018), Laura Teresa García Morales signs the monograph number 65 dedicated to the 92-year-old artist about which, in her own words, “I have not stopped making new discoveries, with new theoretical approaches around his creative universe ”.
In this regard, Díaz-Bertrana highlighted “Laura’s determination, rigor and enthusiasm for disseminating her work”, which Jorge Millares initialed with “recognition on behalf of the family” for the valuable work undertaken by the researcher. “Laura reveals new aspects of that Jane to us who, in the absence of being able to communicate in a dictatorial and macho society that curtailed her ability to communicate freely, uses art as a mode of expression,” said the journalist and the artist’s son.
Díaz-Bertrana and Jorge Millares highlight the dissemination work of García Morales
The new critical study on the creative universe of Jane Millares Sall is structured from a “circular perspective” that the author divides under eight headings: The family, Jane Millares from a bird’s eye view, Feminist conscience, What hurts the canvas, A place in the story, Building identity, The origin is in the neighborhood and Pieces of intimacy.
This journey and polyhedral analysis around her work delves into “a world of self-fiction to explain itself”, indicates García Morales, which translates into “a work with strong existentialist connotations” and which underlies “a constant chronicle of trauma And the loss”. In her artistic production, where the indigenous legacy, the cubist influence, the abstract language and the collage technique converge, the researcher highlights a continuous search “dedicated to identifying, recognizing and exalting those defining elements of a culture of its own to refer to, from which to start more constructive dialogues with other groups ”. “In addition, there is also a permanent concern in her to recover those first roots that were destroyed, with clearly vindictive connotations of that pre-Hispanic past, to speak of a personal history,” he adds. “But far from presenting herself as a victim of a series of circumstances, Jane Millares Sall is part of this group of women who came to present herself as a true agent of change, who would find in art an emancipatory ground on which to realize herself and who offered her also inexhaustible possibilities “.
However, the researcher denounces that “there is still, to this day, an important general lack of knowledge about women artists and art with a feminist perspective, as well as the theories and practices in this sense that were generated in the 60s and in ahead”. In this regard, the researcher insists on the urgency of “constructing our own genealogy to refer to”, far from the patriarchal tradition of reference in history books. “We have a long way to go,” he says.