{"id":19922,"date":"2025-07-28T10:36:34","date_gmt":"2025-07-28T10:36:34","guid":{"rendered":"https:\/\/artoday.net\/?p=19922"},"modified":"2025-07-28T10:36:34","modified_gmt":"2025-07-28T10:36:34","slug":"lidia-paladino-drawing-with-texture-etching-with-memory","status":"publish","type":"post","link":"https:\/\/artoday.net\/?p=19922","title":{"rendered":"Lidia Paladino: Drawing with Texture, Etching with Memory"},"content":{"rendered":"\n

Lidia Paladino<\/a> is an Argentine artist working primarily in engraving and drawing, with a deep interest in textiles. She began her journey exploring textile drawing, using threads and fabric not just as materials, but as visual metaphors. This tactile start to her practice later evolved as she re-engaged with engraving\u2014a form that demands a different kind of precision. In the early 2000s, she made a conscious decision to update her printmaking methods, bringing fresh energy to a tradition she had always admired. That shift proved fruitful. In 2003, she received the First Municipal Prize for Engraving, marking an important point in a long and steady path. Paladino\u2019s work isn\u2019t loud. It doesn\u2019t clamor for attention. But it sits with you\u2014carefully composed, quietly reflective, and deeply rooted in how we see, touch, and remember the world around us.<\/p>\n\n\n\n

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Let\u2019s talk about her 1995 work, Rincones<\/em>\u2014a piece that still feels intimate, almost like you\u2019ve stumbled into someone else\u2019s memory.<\/p>\n\n\n\n

The title translates to Corners<\/em>, which already suggests something tucked away, off the main path. Made with the etching technique known as \u201cpoup\u00e9e\u201d (where colored inks are carefully rubbed into different areas of a single plate), the 80 x 50 cm print isn\u2019t overwhelming in scale, but it\u2019s rich with detail. Like many of Paladino\u2019s pieces, it isn\u2019t trying to shock or dazzle\u2014it\u2019s asking you to pause.<\/p>\n\n\n\n

According to the artist, this work came out of a personal shift in how she saw the landscape around her. That shift wasn\u2019t just aesthetic. It was emotional, even philosophical. She had been working with a certain kind of structure\u2014a certain kind of vision of the land\u2014and then that structure changed. Maybe it was travel. Maybe it was time. Maybe it was life. But Rincones<\/em> documents that change in its lines, its textures, and its sense of enclosure.<\/p>\n\n\n\n

Paladino is clear that experience is what conditions her work. You don\u2019t make a piece like Rincones<\/em> from theory. You make it after years of looking at the world, walking through it, letting it shape you. And then, maybe, you shape it back\u2014on paper, with a press.<\/p>\n\n\n\n

There\u2019s a conversation happening in the print between nature and the self. Paladino isn\u2019t trying to dominate the landscape or turn it into something abstract. She\u2019s in dialogue with it. The etching becomes a kind of echo\u2014a print of a print, in a way. Nature offers the raw material. Observation sharpens it. And then the body\u2014the artist\u2019s hand, her intuition, her lived experiences\u2014translates it into lines and layers of ink.<\/p>\n\n\n\n

The poup\u00e9e<\/em> method adds to this feeling. Because she\u2019s applying different colors to one plate, the act of printing becomes almost sculptural. Each pass through the press is deliberate. The result feels less like a reproduction and more like a one-of-a-kind object. That fits the theme of corners<\/em>, too. We don\u2019t usually look closely at corners. They\u2019re where things end. Where dust collects. But Paladino suggests that these hidden spaces hold something worth noticing.<\/p>\n\n\n\n

What\u2019s interesting about Rincones<\/em> is that it came early in her renewed engraving period\u2014before the 2003 municipal prize and before her later recognition. You can sense that it\u2019s exploratory. But it\u2019s also confident. She\u2019s not showing off. She\u2019s listening. And the print reflects that listening back to us.<\/p>\n\n\n\n

There\u2019s also a quiet sense of order in the composition. Even as she reflects a changing relationship with the landscape, Paladino still gives us structure. She wants us to see the shift, but not get lost in it. That restraint is part of what makes her work feel grounded.<\/p>\n\n\n\n

Paladino\u2019s connection to nature isn\u2019t decorative\u2014it\u2019s structural. And it\u2019s personal. She never claims to represent \u201cnature\u201d in some universal sense. She talks about her<\/em> experience with it, her<\/em> observation. That humility is rare, and it gives her work depth without pretense.<\/p>\n\n\n\n

Rincones<\/em> may not be her most famous piece, but it\u2019s a kind of touchstone. It marks the moment when things began to shift\u2014both in the way she saw the world and in how she chose to depict it. It\u2019s a corner in her own practice. One that invites the viewer to step in, slow down, and stay awhile.<\/p>\n","protected":false},"excerpt":{"rendered":"

Lidia Paladino is an Argentine artist working primarily in engraving and drawing, with a deep interest in textiles. She began her journey exploring textile drawing, using threads and fabric not just as materials, but as visual metaphors. This tactile start to her practice later evolved as she re-engaged with engraving\u2014a form that demands a different<\/p>\n","protected":false},"author":1,"featured_media":19924,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[46],"tags":[],"class_list":{"0":"post-19922","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-artist"},"brizy_media":[],"_links":{"self":[{"href":"https:\/\/artoday.net\/index.php?rest_route=\/wp\/v2\/posts\/19922","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/artoday.net\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/artoday.net\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/artoday.net\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/artoday.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=19922"}],"version-history":[{"count":1,"href":"https:\/\/artoday.net\/index.php?rest_route=\/wp\/v2\/posts\/19922\/revisions"}],"predecessor-version":[{"id":19926,"href":"https:\/\/artoday.net\/index.php?rest_route=\/wp\/v2\/posts\/19922\/revisions\/19926"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/artoday.net\/index.php?rest_route=\/wp\/v2\/media\/19924"}],"wp:attachment":[{"href":"https:\/\/artoday.net\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=19922"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/artoday.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=19922"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/artoday.net\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=19922"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}