Critics on the work of Ainize Txopitea:
Ainize Txopitea vindicates a vitalist celebration of the creative imagination that shapes experience and other existential attempts. Under the premise that "The time is now" she presents a set of works that explore a constellation of questions that are constantly renewed: thus, our contemporary identity, the experience of time, the relationship with nature, the mysterious fractal structure that is recognized in many living entities, the enigma of images and their blend with writing, or the forms of dissidence in the face of the multiple cases of inequality and alienation present in the world and in life. The position taken by this artist unfolds a visual and poetic work that manifests a narrative truth, a critical ethos. Her rational, intuitive and passionate exploration bifurcates through multiple real and imaginary paths, to rescue sometimes forgotten futures.
She uses the collage procedure to assemble texts, images and typographical signs in new images that, as visual metaphors, they enunciate an un-representable remainder: perhaps those faces erased in their series Life is a Stranger, or transformed into geometric forms in Self Portrait or in the series Resistance (2018) do not account for that difficulty to represent the most singular of the human figure: the face? There is an enigma that is never revealed and that the images would come to guard.
The figure of the equilateral triangle, so present in her artistic identity, carries a multiplicity of symbolic derivations. Something of all of this, as a synthesis of the connection of the human being with the world, with what's sacred and with what's harmonious, seems to be remembered by means of that form drawn with the ecologist green, but. The tension of the condensed form in that triangle superimposed on the branched structures of branches defines a visual manifesto; in the same way that the motto of this exhibition "The time is now" is a vital plea not to postpone longings in a temporality that is, like humanity yet to come. Ainize is part of that purpose that litigates in the search for freer and more supportive subjectivities.
Faced with heteronomous (Prometheus, for example) or religious myths (the divine creation of all that exists), Ainize exhibits in an ironic way her piece Evolution (2017): an evolved Homo sapiens captures, through a photographic device, a monkey. A temporary milestone of more than 100,000 years is thus connected in this meeting of fraternal glances. Faced with this image, we cannot fail to evoke as a counterpoint the famous allegory of The Creation of Adam represented by Michelangelo in the vault of the Sistine Chapel.
An ironic and at the same time melancholic approach can be recognized in other works such as Wrong War (2017) or the Resistance series. As a counterpoint, other series such as photo collages called Interstellar. Some female figures are inscribed in a landscape of celestial threats that far from intimidating would promise another full life. No wonder then that the artist herself conceives that series as a futuristic Film Noir: the affirmation of danger and conflict as a salvific promise.
The fractal idea that is very recurrent in this artist since her first works. Fractal geometry is mysteriously present in numerous forms of nature: a
venous system, snowflakes, the weft of a leaf .... She establishes an
analogy between these complex structural forms, which integrate other
similar forms, and other forms of human nature integrated by repeated,
iterative and metamorphic acts. She argues that human beings are also
the result of a fractal pattern in constant expansion. Luckily that
pattern is always done and to be done. And the visual, aesthetic, poetic
and critical inquiry, as exercised by Ainize Txopitea through her
works, invites us to think of ourselves as complex, complementary and
Art critic, Exhibition Curator & Professor of Aesthetics and Art Theory at UPV
"I could feel the energy of your poetry, and it is intriguing and electric! You know, after a while that is all I remember from sites. I rarely remember individual lines that people have written, but I do remember the energy of the work. And, working on the Web, I often try to create work that does not require to be read to be understood, because the Web is international."
Writer & Artist Programmer. Seattle, USA
"Ainize, your work is among the most beautiful I have seen. They may be THE best; they create an emotional environment that sweeps through my head like a warm wave on a tropical reef, where one feels the certainty that blood and salt water are nearly identical. Thank you for sharing that emotional and sensual depth, it is truly extraordinary. The pure abstract beauty of the sound, rhythm, of your poetry, is beautiful in its own way. "
Joe CantrellSound Artist Performer. San Diego, USA
Ainize lets its creations serve for the visitor to explore their imagination. Each part of the human body can represent an illusion, or a memory. Messages, shapes, movements ... jumps and interactivity. Ideas accompanied by music, which create evolution. A display of feelings and artistic handling of the new applications.
Journalist, Writer, & Consultant.
The flight of time
The greyhound comes from a lineage. Ainize is the daughter of Daniel Txopitea, one of the best painters to arise in Euskal Herria (the Basque Country) during the seventies. She has drunk up art forever, like something natural; a necessary attitude that allows a living of experiences in a more full and conscious way.
From his father she has inherited not only his physical features but also a creative thirst, a special link between reflection and sentiment and above all the use of words and the meeting of images, though the work of both have nothing to do with each other. For Ainize Txopitea, poetry forms part of the visual arts and constitutes a visual whole. The work is an embryo that complements both media, it can be read with delight and contemplated slowly. It is open to sensations, it develops in space and grows in time.
As is painting, so is poetry, says the maxim of Horace. But nothing of being separated as yesteryear, but rather of implicating themselves mutually, of relating so as to expand expressive possibilities.
On some occasions phrases come together with images collected from the media. She works in the form of collage adding elements that transpose marks and traces of the process. The texts flow at times without end and inhabit the work, like a torrent. In others, the typographic presence is less and the photographs are original. In some cases, she herself is the protagonist.
The artist leaves bits of herself, gives value to situations, implies and brings out intimate referents or confronts collective questions. The self is implicated as much through the use of the first person as through the utilization of the very image of the author. A sincere self-portrait which makes its own the memory of that which is lived, negotiates situations and expresses feelings and ideas with respect to all types of questions.
Beyond the perceived, is the mystery of the hidden. An involved excitement. The intermittence of the latent. The recovery of desire. The soaking of what excites. The hiding that begins to open itself. Ainize Txopitea traps an urgency that freezes. As she says in one of her works, "Time is the silence that flies."
Xabier Sáenz de Gorbea
Art Critic & Professor at the Department of History of Art and Music UPV/EHU. Bilbao
Origin as destiny
In every trip (even the creative one) there is no place more forbidden than the one from which we start, except when the place comes with us. This can be seen in the work of Ainize Txopitea. The word and the image (made or captured) coexist in it as signs of the same desire, sometimes dreamed, sometimes felt in the body and always done. Language, launched into the world, so that the world can read it in its own language, ideogrammatic, hybrid, fragmented, multiple, without disciplines that limit it, clear and contradictory, disturbing the art of a banal era from within and with the only vital replica possible: poetry. And she seems to say: "Here I leave you my skin, in the sign (culminate bird or letter)".
Verses transmuted into images, waiting in words or without bars that limit it to a single place to perch. She knows it and plays at domesticating her in flat and straight rooms.That is why in her works an absence, of indeterminacy, of possibility beats. That which without being negotiable is called into question so that it appears in those who observe or read: the ties that link the fragments of a paradise shattered by dreams and nature. As an invisible thread, this absence contains a message for whoever wants to see it (stored in a dream is the key).
There where her work always culminates, three visions converse: nature, dream and language and between them: the body (nature) and the machine (dream) fused cyborg with threads of Ada's loom. She is not a nonsense she-collage-she is a woman. She is in the image stolen from heaven, water or earth, recomposed with zeros and ones. An ocean of possibilities that go away and one that we arrive at.
In the creative journey, the signs seem to recall ritual and anthropological hypotheses about the poetic and affective origin of language. And this also as her destiny.
There is in her a cathartic exit before life, death, time and love. There is also an attempt to recover the face showing its loss, or to cling to the body when its damage is sensed.
The staging of chaos and order is not done from the alternation of both, but from their implosion, as one who acts thinking: This is not enough for me. There must be more than one face and its back, something on the other side of the other side. Surely someone, like me, can see it. She (Ainize Txopitea's work) is poetry. And she seems to say: "Here I leave my skin and not only the deep."
Writer & essayist in Cyberfeminism, Innovation and Digital Culture. Sevilla
Rituals of Love
Independent Curator & Cultural Journalist
The Word as Protagonist
Perhaps because she was the daughter of a painter, Ainize Txopitea moved to London 10 years ago, to start from scratch and seek her identity as an artist, far enough away from the connotations of her surname. She now exhibits frequently, also in the Basque Country and even alongside the works of her father, because she has already found her own language.
Through her collages, the artist breaks down her inner world and her concerns, providing them with all the possible combinations that computer technology facilitates. Cyberspace is also a place for Ainize Txopitea's poetry, in which she finds herself comfortably and where she has found a very personal style towards art.
The investigation is mixed with the creation and the image with the word in a harmonious way. The word in the first place, is the creative and suggestive engine for the final development of the work. But in addition, the typeface chosen in each case becomes the drawing of the word, an expressive and compositional part of the whole. The artist launches visual messages that penetrate deeply into the viewer, with which she provokes feelings and reflections.
Titles sometimes disappear to make it easier for the work to remain open and subject to different interpretations. The feminine theme appears frequently in the chosen photographs. Women belonging to other cultures and other historical periods, highlighting this female role in contrast to the male one. But that is not the only message, his social position is present when he shows exploited women, or victors, subdued or reigning, adopting imposed or voluntary roles, and all this in a composition in which, in addition to photography, the brushstrokes of color intervene. , the torn papers and of course the text as the protagonist.Carmen Gonzalez-Borrás
Gallery 100 Kubik, Cologne, Germany.
Ainize Txopitea's work inquire into memory as a way of encountering that blurred and fragmented self, with an innocence that is known to be torn and extinct in a suffocating, even militaristic reality / urbanity. It responds then to a problematic ontology. It is celebrated and, at the same time, it is rejected as an inextricable part of the principle of being. That techno-ontological value that the author exposes to the netizen as a "spectacle of the imagination, and therefore intimate,". If, according to the author, "the complexity of a subliminal design is also poetry," the poetic-ontological creation now branches out through in search of a celebrated, but also anguished, connection.
Professor of Literature & Gender, Sexuality and Women´s study at the University of Vermont, USA.
Faithful to the visual culture of our times, the Basque author Ainize Txopitea offers us a series of images which are, to a certain degree, visual poems that share a current subject: violence. Sign and fate of our age, social, political, sexual, informative, cultural and counter-cultural violence has become our shadow accompanying us at any time and everywhere.
The artist, receptive to our daily and anonymous shouts, unmasks motivated historical disasters in the twinkling of an eye, creating a language or a "Langu(im)age", which is a chronicle of desolated and violated worlds. Ainize images produce a visual chronicle of critique and denounce; a visual writing of protest against violence of any type, against the spirit's death and against the notion of art understood in compartments of separate disciplines.
Laura López Fernandez
Associate proffesor at University of Canterbury, New Zealand
Thought-provoking visual poems
The Donostiarra has been incorporating different languages and forms of expression in her work; painting, collage, photomontage or mixed media currently nourish the artist's narrative, combining in conceptual poems that visually capture the sensations experienced. Sensations and feelings that, as a woman, have often been silenced by the inertia of a partriarchal system. That is why it is common for her work to be full of women from various origins and periods, seeking to achieve a traditionally bare position.