Dirigir las nubes (Steering the Clouds), by multidisciplinary artist Glenda León, displays the allusive power of a language elaborated with images and objects. As in all her work, the artist uses manipulation and transformation: what is and what seems to be intertwine and generate new meanings.
Her work stands out for its simplicity, clarity and the absence of redundant elements. Utilising iconography that is familiar and recognisable to the viewer, she manages to evoke existential places, not absent of lyricism, which are charged with unsuspected meanings. On this occasion, an evanescent map is the leitmotif and metaphor of a poetic discourse that is simultaneously political: it might be said that the world, seen this way, acquires an unstable, fleeting character. Nothing is guaranteed and nothing certain, as in a hallucination or a dream.
These strategies emphasise the artist’s questioning of certain conventions in the representation of images. By playing with this representation, she casts doubt upon and breaks patterns and stereotypes: the world map that emerges in the clouds, constant imaginary of the territory, reveals cartography to us as a construction. With its diffusive quality, this map indicates the power spaces, those that impose borders. In the oneiric space forms flow, while in the political one, the limits to free movement are affirmed.
In this work, as in other pieces by the artist, criticism is not explicit. Language is not directly translated into a curse, nor is it formally a visual attack. Quite to the contrary, Glenda León induces us into a kind of silence in which we listen to ourselves. The action is hardly perceived, as it flows in slow pace, accompanied by the muted sound, the rhythm of deep, calm breathing.
Within the choice of minimalist aesthetics, she opts to subtly manifest the dichotomy between the global and the fragmented, in a blurred way; between that which is defined and marked, and the ephemeral. From this perspective, the video amplifies the perceptual experience of spectators, inciting them to reflect on their own contemplation of the world. She leaves all paths open, like when playing at guessing shapes in the clouds: a voyage into one’s self, the encounter full of uncertainty with the other, a structure full of immutable certainties that could, however, be dashed to pieces in a matter of seconds and be replaced by others…
Blanca del Río