“I want to create scenarios that provoke a dialogue, either visual or spiritual between the essence of being, the object and the surrounding space. In order to render through these other perceptual versions of existing reality. The experience of seeing oneself reflected within an environment is something that draws my attention. I consider the repetition of an element or a reflection of one´s image evokes a contemplative act of reflection towards the past and present. It is like a materialisation of the passage of time. For me these scenarios are a kind of new landscapes, limbos, mystical places that are seemingly endless”.
Rachel Valdés is committed to the aesthetic experience, without only considering a single way of doing it. Because for them, everything can lead to reflection, emotions, and feelings, whether it be a formalized work in two or three dimensions with a contemplative, retinal plentitude of norms, or if it envelops us into a maze of images that are fixed or moving, and even unfinished, undergoing a development process that is carried out beginning as much with ephemeral and circumstantial aspects, as with the enduring aspects of their materials. For her, it is essentially about activating the greatest number of symbols, encourage new understandings and meanings to appear in the midst of a growing universe of images becoming increasingly appealing, radiated by all possible means and not necessarily leading to the enjoyment, order, and existence of an open, plural and transparent way of thinking. She draws on everything that appeals to her intellectual, affective, and cultural interests. One of her main tools is the search for specific, specialized information about new artistic processes, the technical possibilities offered by advancements in science and all that is happening in art from one side of the planet to the other. Her academic education was democratic enough that she is not limited by the requirements of specific genre, but rather can explore the most diverse paths of creation. In two words: feeling free, never tied to only one technical position, expressive. Rachel has traveled through vast territories of painting, drawing, and photography. With the same strength and passion, she explores the geography of sculpture, objects, and installations, treating the last as a summa, a compendium of research and investigation about the perception and correlation between subject and creation, author and spectator, intimacy and circumstantial environments. In other words, it is that which deliriously exalts the mazes and dictates of the mind, thereby allowing an emotional translation of its intellectual aspirations, understood as the expression of the “existential phenomena of human beings, of their physical and ideological matter…”, as she has stated in the past. In this way, Rachel reinforces her conscious will to give spectators the chance to have experiences similar to hers, whether or not they are educated in the world of art. She does not act like a magician, or as a demiurge, a visible genie able to capture the possible attention, but quite the contrary: her invisibility is essential for sharing experiences by integrating into the creation-exhibition-reception system of art. She is only an intangible instrument (not “the hand of God” as was believed in the past) that is utilized and purposefully makes use of paintbrushes, metals, glass, oil paints, wood, mirrors, fabrics, acrylics, cameras, video projectors, and lights, in countless works carried out, and projects. Hidden nowadays by the skein of high technology and spectaculars that attempt to remove the substance from any display of sensibility or human perception, emotions and feelings rise to the surface in each one of her works. They are highlighted until capturing all possible attention. They are attractive from the very moment they are installed. She does not agree with the idea of delivering the spectator something immovable and closed, but prefers to take on the risks of participation and complicity, almost from the time of production and assembly. She can be seen at the site, attending to every last detail, outlining processes, securing the frame of delicate and complex structures, and having that rich social experience as an effective antidote against any sign of isolation or alienation.