Gabriela Arévalo, painter and limitless woman, positively assumes the crises of modernity and the limit of culture to arm herself with a pencil and a pen, a little bit of white acrylic and with her left hand and strokes the most humid lines that have ever crossed paper.

The image of water leads to vertigo: that of falling rain which fertilizes, but also the one that provokes the wave that drowns and shatters. Marine vertigo of insomnia, of desire, of the uterine initiation of life.

The fifty hand made papers that Gabriela Arévalo draws with her left hand thou not left handed show a constant firmness of the drop that pierces consciousness and mountains. Her liquid images escape from the horizon, they are cold lost glares, searches for nurturing affections that escape from paper to pacer In the diptychs "The nourishment of the future" (el al/memo del futuro) and '`The fished fisher woman" (la pescadora pescada) a contradictory dimension is achieved of ironic omen.

But the lined paper; listed, ruled, splattered with blue blots like tears, with gray circles like twisters with patterns of graphite like horizons, tells love stories, love anxieties, draws close the painter to the spectator and imposes on everybody the description of the fatigue of living, and also, and without contradiction, of friendships nourished by rain and distance.

With drawing on paper her only resource, Gabriela Arévalo achieves a juxtaposition of non-linear ideas of mountain, of sea. "The cave of Gabrielascaux"(la cueva de Gabnelascaux) is a two by four meter wooden box, into which one enters with a lamp finding the drawing of a hand and of fat cows that represent the desire of to trap the spirit of good fortune; reminiscent of the triptych and the two diptychs of the fat cows that unchain the idea of fortune and her Mexican ghosts: "The weeper" (La llorona), "The lord of the skies" (El señor de los cielos), "The spirit of Sayula" (El anima de Sayula), and "My guardian angel" (El angel de mi guarda). We all live in the cavern, in the tears of the spilled milk of our dreams, sunken in the depression of the spillage, of the fall, of waste. Nevertheless, we keep on asking: When do I hit the jackpot? (get the fat cow) When will the Revolution bring me justice?

In Gabriela Arévalo's drawings there are caverns as interiors, windows as triptychs earthly intimacies in two parts, and also oasis. Oasis of solid land, of mater, in the medium of the liquid movement of the left hand. Both "Empty nests" (El nido vacio) suspended in the air, touch a material intimacy that ends up being an exit to solid ground.

"My subconscious is undecipherable" (Mi inconciente esta en chino), in black and white, symbol and water secret and revelation, plays with "Interior universe" (Universo interior) whose circular lines, concentric waves lifted by a drop of rain on the surface of a lake, open the book of ordinary life.

Finally, among all the possible combinations that the half stroke of the pen and the weighted line of the pencil propose, the translucent layer of the white acrylic which Gabriela overlays them, offers a non dual opening, an answer to the pressing question of what can be done with the other part of us, males or us females, what can be done with our germinating humidity. Gabriela Arévalo inaugurates in this way another line of logic.

Thirst of shapes. Thirst of inhabiting white spaces, void spaces. Desire to be steam, mist, to be body. To condense oneself, to extend the affective thought and take shape. So the line becomes native in the open, luminous, space of the paper Gabriela Arévalo, in the series of drawings that embody the show A line in the water, invites one to complicity, to peak through the depth of the celestial and territorial waters. It incites the spectator to participate in interior universes where what is important is not what one sees but what is suggested, that which playfully peaks out to wink at us. Realities and appearances are touched by lines and, in the same way, by absence. Work that is sustained by austerity the real color is never explicit . In Arévalo's drawings there is a complexity encountered in the most pure simplicity. The author shows us that in drawing excess disconcerts and that in silence resides the eloquence of line.

From the primordial waters, from where rain and fish surge begins, Arévalo's vision. Because of this, our author gives us drawings that aren't burdensome. They posses the lightness of translucence. Her iconic elements emerge from the refuge of the subconscious, unprejudiced, free, that is to say, the stroke turns into an extension of the mental games of the artist. The rain is caught on the waves of the water and at the same time the sky is trapped in the pond and without the sky there would be no game. Let us remind ourselves that without spirit and thought, form is impossible. Through her drawings Arévalo suggests moments of humor that belong to children, to the ones that dare defy the established and have faith in catching A line in the water.

From the pleasure of adventure; Gabriela Arévalo presents in this show her suggestive work, charged with irony and resisting compromise, where having fun means denying immobility. Even though she is right handed, these drawings have been executed with her left hand. The premise is to unite reason with instinct. The artist's ambition is a more visible world, less trapped in the confusion of shapes and hierarchies. She seems to be telling us that we should opt to see the ordinary through the mirror in that Carrolian world where the absurd entails primordial truths like that of laughter, like the one that allows us be astonished by what is hidden in ordinary objects. The drawings of Arévalo are epicenters of a metamorphosis, fragments of a geography in which enthusiasm and humor shake hands with the desire to encounter a renewed style of saying things.

In A line in the water Gabriela Arévalo opens the possibility of conjugating multiple objects in a whirling spiral: a cow is held by a tiny table; tuna fish float trapped inside cans. In the bottom of a neuron, an egg, transformed into an emotional center, is suspended by an animal that represents instinct. A female figure flows all along the work in a permanent state of gestation and imprisonment. The water is the continent of all the secrets: humanity comes from water, in all its forms, rain, amniotic fluid, seas, condensed in clouds, one touches what is central not in the periphery. To know her language is equivalent to understanding the vital machinery; to know Gabriela Arévalo's ambition to grasp primal emotion, the suggestions of the invisible.

The pieces of A line in the water are timeless, like an immense sea that folds open over it's own substance, everything is real, yet apparent. At first glance the objects and the atmospheres might appear hallucinogenic but the tension created from the ironic games and the serial repetition of elements speak to us of a principle that sustains all the parts: a subtle linking of thought. Gabriela Arévalo manages to grasp the invisible, the states of the soul. The waves that produce a drop of rain on the pond, are a manifestation of the organic spiral. A line in the water is an extension of the flesh and senses of the artist. In her drawings, we the spectators can kind the power of the stroke and a particular vision of the transfigured realities. Lines and spaces form an immense poliptych in which observer's gaze is the key which gives weight to the simple empiric observation. A line in water is the ideal space for dilettantes.