The Organic Flow of Time

During the month of May, Studio 6 at Lagos | estudios y residencias became the stage for an artistic metamorphosis. Painter Karin Averkin committed herself to a period of intensive production defined by tenacity, perseverance, and a profound openness to the unknown. This process was not a simple continuation of her previous work, but a rigorous catalyst that propelled her toward a pictorial transformation — internalizing her artistic gesture and elevating it to a new level of professional consciousness. Through this dedication, Karin managed to fracture her own limits and access a deeper dimension within the planes of her visual and conceptual inquiry.

The core of this artistic residency lay in a transition that was both technical and spiritual. To give rise to this new body of work, the artist had to inhabit and move through a multiphase process of intellectual detachment, one that left a tangible imprint on each of the plastic solutions present in the exhibition.

The greatest challenge and revelation of this period consisted of shifting away from reason-driven creation in order to allow the force of the spirit to emerge. By silencing the noise of rational control, Averkin allowed intuition and pure impulse to guide the movement across the canvas. The canvas ceased to be a space of strict planning and became instead a territory of occurrence and revelation.

In what can be defined as an organic flow of time, the artist absorbed the complexity of Mexico City. The metropolis — with its incessant accumulation of memories, social textures, and everyday archaeologies — provided the conceptual raw material. Averkin resituated these layers encountered in the city within her artistic practice; rather than appropriating urban landscapes, she delves into her own inner layers and landscapes, managing to discern and attune her own natural flow to the nature of her surroundings. This communion between the interior and the exterior drove the need to expand the physical support, giving rise to a markedly physical and atmospheric body of work: larger-format canvases that demanded absolute bodily commitment and a scale designed to envelop the viewer. She applied a less-is-more approach, stripping away the saturation of elements from her earlier painting so that the handling of transparencies and stains became more legible — in chromatic superimpositions that play with light, veiling and unveiling the underlying layers as a metaphor for memory. And in drips and strata, she made room for controlled accidents where gravity and the fluidity of material act freely, consolidating a pictorial topography that emulates the passage of time.

The result of this month of introspection and catharsis materializes in 8 pieces that are not merely aesthetic objects — they are the living record of the emotional and technical stages the artist faced and transcended. Each layer of paint, each wild drip, and each transparent glaze bear witness to a creator who has matured her language, establishing Karin Averkin as a seasoned voice, conscious of her gesture and willing to sustain the dialogue between matter and spirit.

olgaMargarita dávila

Chief curator

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