A braque | To braque, 1975
Anita Payró’s work navigates the interstice between graphic sign and material poetics, where drawing, print, and modest sculptural means articulate intimate cartographies. Her vocabulary privileges seriality and cadence, proposing notation as affect—marks as breathing, repetition as time-keeping. The oeuvre advances a spare, incisive grammar attentive to fragility and insistence.
Payró’s painting articulates a concise, architectonic language where geometry is not an end but a universal syntax of order, clarity, and balance. Her compositions distribute chromatic planes within neutral fields to produce stability and inner rhythm; at times she critically reactivates Cubist legacies from a Latin American viewpoint, privileging structure, modulation, and measured chroma over spectacle
Payró’s painting articulates a concise, architectonic language where geometry is not an end but a universal syntax of order, clarity, and balance. Her compositions distribute chromatic planes within neutral fields to produce stability and inner rhythm; at times she critically reactivates Cubist legacies from a Latin American viewpoint, privileging structure, modulation, and measured chroma over spectacle
