Apparent, 2015

Mirtha Otaño  

The work of Mirtha Otaño has a reminiscence between metaphysical and dreamlike. The stripped and hypnotizing landscapes of it refer us to a fantastic world inhabited by long-legged characters. She does not need the stridency or the disruptive, her thing is a harmonious becoming built with works that move and mobilize. She always points to the human, even when she paints a landscape. Her themes express anger, love and detachment, to which she magically adds joy, pride, fear and exploitation, manifestations, all of them, always inserted in her own universal becoming. She has worked different techniques of the visual arts and made installations. To her pictorial world she adds her being an engineer and a pianist.

“My greatest growth - she tells us - comes from the hand of Mireya Baglietto who guided me with a high level of demand."

Baglietto once said about her work “Mirtha Otaño some time ago (…) she put the engines to full capacity and began to navigate the painting with dedication and almost vehemence."

Mirtha is an engineer and from there she preserves the systemic order that contributes to the development of her process, at the same time she is creative and playful, an interesting integration of values that result in the emergence of strange characters, beings that she stretches, stretches and stretches at the same time. measure of an unusual perspective, ideology that accommodates a recurrent theme balanced between the spaces of his native Patagonia and the events that we all know today. Her works are restless and this is good in itself, because if an artist must convey something, it is concern, mobility and risk. Art is process, a process that arises from her time and this time, our time, requires our concerns, mobilities and risks.