Barbara Mori, Buenos Aires, 1980.
From a very young age I immersed myself in painting in a way which was almost entirely self-taught. Paper was my initial medium and this slowly developed into cardboard, wood and finally canvas, which is now the main medium I use in all my work, although I still sometimes come back to using wood. This process was accompanied simultaneously by the introduction of various pictorial elements, from oils, tempera and acrylics, to construction materials such as filler and others such as waxes, soil, coffee etc.
During the creative process the materials I use are paramount. I start with various different materials and the knowledge of what combining and superimposing them will create. This knowledge of course comes from not knowing and then experimenting and testing in order to come up with an optimal use of the materials in question, to produce the best results, quality and durability possible.
I introduce new resources almost continually, which is why my works are made up of such a variety and richness of textures and tones; they stem from the mixture of materials, and through them the composition inevitably emerges.
I often point out that it would be futile to describe my work in terms of its meaning, that by doing so I would be influencing what people see in it, its perception and consequently the observer’s interpretation of it.
I will however try to briefly and generally describe the language which colours my artwork.
The materials I use are, without a doubt, the basis of this language. The textures and tonalities of the material create the familiar images, the appearance of the earth, the stones, the walls, the dampness, the crevices… the subjacent shapes enter into a conversation with each other almost immediately, generally cities and buildings, some more evident than others; horizons in outline or well defined against a backdrop of light. Often black lines become prominent and turn out to be objects of an irregular geometry, of an ‘erroneous’ perspective but one which is recognizable nonetheless; and at the same time shapes which are easily identified disappear and pure abstraction becomes predominant.
In any case I think that on observing my art, introspection is a common ‘result’, just as it is whenever you observe any work of art. Whatever each individual discovers within the art will inevitably be intrinsic to him or herself.
After studying graphic design in Buenos Aires, she set out to use her design skills experimentally. She tried out various materials, starting with the traditional paint media, acrylic, oils, tempeta, etc.but then moved on to building materials, soil, wax, and others as coffee, tea, etc.The base surfaces that she works on vary between wood, board and canvas.
Ultimately, the works this artist produces are the result of her experiments with these raw materials. The textures that arise provide the conditions that make it possible to create works ranging from pure abstract to subtle objective. Where motifes seem to emerge from the texture, the material itself is not elevated to some absolute status over and above the form. The artist alternate between these two approaches, though the first , the choice of material, takes precedence. The aim is to produce a type of painting based on relief technique with coarse, porous or grainy textures rising from the flat surface. In some of her works, Barbara Mori repeats a series of pictures and objects taken from everyday scenes, such as a chair, table, or similar. She consciously selects objects with which we are all familiar and which are open to the inevitably subjective perception of the viewer.
This Argentinean artist has been on the island for some years. As the premier gallery in Palma de Mallorca, the Empire Art Galerie is offering this promising artist her first exhibition here. Following her Palma exhibition her work will go on display at the Empire Art Galerie in Mainz, Germany. Connoisseurs of art will doubtless be keen to acquire works by this aspiring artist as it is already apparent that she has an interesting and successful career ahead of her.


Barbara Mori, Buenos Aires, 1980.
Desde muy joven me volqué al dibujo y a la pintura de manera prácticamente autodidacta. El papel como soporte inicial fue derivando en cartón, madera, y finalmente en el lienzo, soporte principal de mis obras, aunque en ocasiones reitero el uso de maderas por considerarlo el más fiel; este proceso fue acompañado simultáneamente de la introducción de variados elementos pictóricos, desde los formales como el óleo, la témpera y el acrílico, hasta ir incluyendo materiales  de construcción como la masilla, y otros como ceras, tierra, café, etc.
R e s p e c t o   a  l a  t é c n i c a
En el proceso creativo prima la materia. Parto de los diversos materiales, y del conocimiento del resultado de la mezcla y superposición de los mismos; este conocimiento parte del mismo desconocimiento, que a base de pruebas y experimentación me han permitido hacer un uso óptimo en cuanto a resultado, calidad y perdurabilidad de de los mismos.
La introducción de nuevos recursos es prácticamente continua, de ahí la variedad y riqueza de texturas y tonos que componen las obras; de la mezcla surgen las texturas y los matices, y de éstos, inevitablemente, la composición.

A menudo, y a consciencia, señalo que resultaría estéril la descripción de una obra en términos de significado, y que la misma en tal caso sugestionaría la mirada, la percepción, y por ende la interpretación del observador.
No obstante aquí me propongo hacer una breve y general observación del lenguaje que rige mis obras.
Es sin duda la materia la base de este lenguaje; ésta, por sus texturas y tonalidades dan lugar a una apariencia que resulta familiar, la apariencia de la tierra, las piedras, los muros, las humedades, las grietas… casi inmediatamente entran en diálogo las formas subyacentes, generalmente ciudades y edificios, más o menos evidentes; horizontes delineados o bien destacados por la luminosidad. A menudo las líneas negras cobran importancia y resultan objetos de una geometría irregular, de una perspectiva “errónea” pero claramente reconocible; así mismo desaparecen las formas reconocibles y prima la pura abstracción. En cualquier caso considero que es la introspección el "resultado" de la observación de mi obra, así como lo es la observación de cualquier expresión artística, lo que halle cada individuo sí será inevitablemente inherente a él.