Lorena has been the symbol of evolution, and her work is the expression of one who moved from the purely conventional and academic to finding a proposal that would describe the reality of our current century.
She was touched by concern over the global system, the warming of our planet, the loss of significance among human beings, concrete buildings, as well as the absence of the romantic landscape we had in the past, in which half of the work dealt with the immensity of the sky; her current creations deal with urban landscape, visual contamination, loss of spaces, turning her horizons in a chromatic play of aesthetics where the treatment of color commits her to the execution of knowledge of the theory behind it.
All this proposal is developed around the silhouettes of the city, of interior windows or views from the inside and the chromatic impact of the sun over the great masses of concrete. Her work has found, little by little, the call of development, a development that sets aside human creativity, to an extent by which we are no longer part of the landscape, and all that remains is the world of concrete, be it cold or hot, but impersonal.
In this scope of things, we have also lost the sky, and this romantic concept has intentionally disappeared from her work, clearly leaving a minute significance of what is wrongly called development. Her recent creations have begun to contaminate with the color of industry, black, gray and dirt tones, and this array of the palette starts taking over, setting aside romantic colors, spreading over the whole of her work, turning immensity into a paradigm that bluntly lessens human preponderance.
Her clearest referral is found in her work “Imbalance”, where she makes us feel the catastrophically earthquake in Chile; or in “Urban Vegetation”, where we perceive a “plantation” of concrete street light posts, linked to a web of electricity and communication wires; or “Landslide”, which reflects an spiritual anxiety concerning natural disasters; or more defined, as with the series “Industrial Zone”, where the consequences for disrespecting the environment are made visible.
HÉCTOR RAMIREZ MORA /Curator