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Clausells lets herself be taken over by the intensity – or when necessary, by the lack of intensity- using an elegant style that brings Redon to mind, as well as the more abstract painter Gustave Moreau who influenced so many artists with his diffused and colorful sketches, allowing freedom of expression.


This is how she replicates it all, from the gastronomy and architectural landscape of this inspiring city, to the rituals and sacred colors of Buddhism; taking in every single picturesque surface, enveloping the spectator with the calmness of the East, so different from the hasty lifestyle of the West, a world known only by the tourists’ perspective, a generic idea of what the Far East is.

Her wisdom in the use of color must be emphasized, the ethereal brush-stroke combined with a nearly unnecessary definition, almost offensive. Her balanced works are not completely abstract, pantheistic daydreams, agreeable separation. The artwork is abandoned to its essence, and similarly the spectator is initiated in the voyage.


Deep red colors emerge, one after the other, rich shades from deep reds to orange hues, mixed with gray and violet tints, lacking definition, vaporous, alternating with images of water, phantasmagoric fog and off-white or golden moons; sceneries that emerge from the soul, recurring sometimes to geometrical shapes to arrange themselves: separated vertically and moving upwards, unstoppable in their quest for personal introspection.

- It is perhaps in the spiritual where we find the roots of the material; sensorial roots and human roots…

Perchance is this what art is about?

Reminiscence and insinuation, more than mere representation, make themselves continuous in Monsterrat Clausells works (Barcelona 1960). Sharing these same standards, Amparo Gámir now offers 23 masterpieces of the artist that assert her most recent experience, a lesson of training and learning, in exotic Nepal.


All of her works are marked with the breath of a dream, the capacity to envision further, something that is definitely palpable in Bhakatapur, the city that inspires her, the city that merges the individual with the vastness of the communal, the eternal city that turns time into serene stillness.


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