Mystery is all around us. Are cats not supposed to hate water? Do houses for crowned cats actually exist? Who will provide the fantasy needed to keep pace with the creative adventure of Patricia Quevedo, legitimate heiress of the Simones, anchored to these sweating lands by grace of a love sparkle? Could it be the evocative moon, or the new wind of the west?

Knowing, by accumulated experience, that the work and the observer perform at unison a scientific precept and an artistic attitude, Quevedo transforms us into passive kinetic members of her energetic paintings. She allows us to enter a sensible spatial world, where all the stylistic components have been designed to create a rhythm of chromatic jazz in andante presto, combined with a plastic dynamic, akin to the virtual philosophy of the Broadway Boogie-Woogie. All this is expressed with a Caribbean vibration that reduces and lightens the concepts of mass, weight and gravitation, extending its field of action to that which, while short-lived, is meaningful.

Coming from a good school, Patricia Quevedo believes that every pictorial fact must exist in function of a construction. From this standpoint, her art refers to the great masters of the erroneously called abstractionism, abandoning deceptiveness and irrelevance in order to concentrate in the concrete balance for her cathartic, obsessive spaces. These often dare to playfully go across the “real space” questioned by Fontana, revealing the volume therein by the use of gesture and expressionistic geometry.

Talking about cats and mysteries at the opening of these notes may have nothing to do with the overwhelming art of Quevedo. But for someone who keeps her childhood drawings almost intact-such as a page filled with crowned cats – there must be a strong objective reason, leading to continue looking for a bridge between the lost adult and the child we all carry inside us. Much more so in the case of this artist who soon will be a mother, thanks to the mysterious geometry of love.

Daniel Angulo R.
Barranquilla (2000)