The nature of a fluctuating imaginary, upon the river that crosses her territory, evidences the feeling that she conveys within her pictorial language of several gestural projections of chromatic matter.
Her personal imaginary, which she modifies in accordance with a subjective vision, is closely related to an emotion and to a concept about the language of painting. She states “I paint what I feel and think and not strictly what I see”.
Through the pattern painted by a spontaneous brush – in several of her productions performed under an emotional impact, a personal style that never stops transmitting the joy of the act of painting is displayed.

Rosa Faccaro. Member of the Argentine and International Association of Art Critics

 

Feeling the Pulse of Life 
Her current artwork, with an abstract spirit combined with figurative references, features strength through color and freedom evidenced in shapes. A few elements and lots of sensitiveness are the resources applied by the artist when composing her paintings. An artwork that reveals itself with the joy of the artist provoked to her by painting. The thought is realized through a game of vibrations and tensions produced by the space, the line and the color, achieving an abstract methodology related to music.
Cabrera Grohs is not able to escape from her won appealing and audacious nature; she takes us to her particular emotional universe, achieving immortality. It is her feminine manner to make us aware about our own roots, the elapsing of time and that subtle border between life and death that transforms the material into the spiritual world.

Owner of a vibrant and sensitive artwork, the artist takes us to her own search and it is in that manner how she manages an intimate and deep dialogue with the audience. If the essence of image is to make it visible, Ana’s paintings makes us to feel.

Marcela Costa Peuser, Executive Director Arte al Dia

 

In the Fine Arts Provincial Museum, the artist from Entre Ríos, Ana Cabrera Grohs exhibited her artworks in an individual exhibition called “Feeling”. On the occasion she was accompanied by a large audience who talked to the artist, and expressed positive comments about her paintings.
Among the most prominent, Delight, In Freedom, Meeting, Herons in the water, The Light, Large Water, Spark in Orange, paintings performed in acrylic on canvas with a huge format that makes a visual impact on the audience due to the use of vivid colors and tones combined with creativity which denote her plasticity and passion towards fine arts. Her paintings reflect her coastal origins where the river and surrounding landscapes are evidenced in her artworks with a natural skill.
El Diario, Paraná city newspaper

 

Ana Cabrera Grohs. She is an artist known for making contemporary art paintings ranging from figurative to abstract. Through his works he achieves more and more inner freedom and creativity. To make them generally use canvas, although some are painted on paper or wood. To achieve varied nuances of colors and textures, she uses oil, acrylic and mixed technique paint. The themes that inspire her come from her desire to find how to paint nature, taking from Argentina and  America its mountains, its seascapes, its beaches, flowers, and the themes that speak of the interior life and the celebration of love

ECURED, Encyclopedia Cubana

 

Much has been said that true abstractionism seeks at all costs to move away from reality, that ballast capable of restricting the inspiration of the true artist, nothing further from the truth. After the total separation of the concrete-sensitive universe, under the most gestural or random forms, hunch a the immediate referent of any abstract painter: his subjectivity, that intimate sieve by which filters the real to stay, at last, with the emotions, the sensations and feelings that will later turn into oil on canvas. Already the Greeks said it: Ex nihilo nihil. Out of nothing nothing comes up. In this sense, the abstractions of Ana Cabrera Grohs, make an excellent example to explain how a non-figurative painter has himself. And with him, everything that surrounds him, because according to the artist, his works sprout from his world and his circumstances, from his most intimate experiences. They come to be a kind of emotive autobiography whose author writes with pictorial techniques, instead of pencil and paper. But those emotions arise from their family and love relationships, from their sadness and loneliness, from everything they observe and learn. That is to say, these emotions spring from a reality that remains in them until Ana reconfigures her again, takes away or gives her colors, dissects and intermixes her to leave her, at last, on the malleable surface of the canvas. And then we enter the gallery, and we see the painter dissolved in her oil paintings, and at her side, everything she has seen and felt. Ana is his painting. But she is not alone. The real accompanies it, at least, the real as we insist on defining it, only seen from its creative perspective, filtered by its delicate subjectivity. She is the unity of a crowd. She is the Much. So, with a capital letter. Ana Cabrera Grohs is a legion.

Msc. Maikel José Rodríguez Calviño, Cuban Artist and Poet.

 

Ana Cabrera Grohs’ art is a vibrant expression of the inner feelings of someone who has much to say and has found a way to say it second to none. Ana paints from the heart and her heart is full of color and
life and vibrancy. If you hang one of her paintings on your wall, it is not simply a picture of something. It is a part of the artist that speaks to you and lifts up your spirits every time you see it. How do  you capture life and emotions? Ana has found the way. She has a great future and her work will gain in importance as more and more people are exposed to it.

David Phillips. Publications Director – Fine Art Registry-U.S.A.

 

Ana Cabrera Grohs creates, through her particular manner of attracting light and meaning from the movement of the existence, world representations which may in a first approach appear vertiginous at times and pleasant at other times.
The suspicion arises when paying thoughtful attention at the same time as we run into voices and silences, installed in the colors and in the figures.

A frame which crosses the abyss without becoming what it should become: a door. “The man passes by”, Blanchot said: “he has always passed by … but he screams when passing by … he does not scream: It is the whisper of the scream”.

The exuberance of red and blue colors, crossed by an ample aperture palette, exhibit the aesthetics of her particular internal voice held upon the yellow colors of the apparent quietness of her landscapes protected by a clear sky. I say apparent because she transmigrates from the chaos of some of her abstractions to the shapes she subsequently assigns to nature and to human representations.

The order she confers to them, comes from someplace high and her creatures look at the light, exhibiting their backs (Initiation) very similar to the platonic conception of the cave myth. Don’t you think that it is in contrast where said little piece of silence is better debated, between the non defined word and the presence of sitting women, as if they were in a contemplation stage?

The painting with the Iris pointing at the center, is it a restitution? Delicate elements among the strength of an exuberant nature. Disrupting is the installation of the human shape looking at the entrance of a cave, a mysterious place itself. It may be a poetic transposition of the myth of origin with the presence of the indefinite and the conjugation, at another moment of the nature series and her manifested project.

Yet her paintings combine the sensual sensibility with the spiritual sensibility. It is a combination which is not paradoxical at all but a harmonious and absolute coexistence, where hesitation may also be present. The vitality and strength of lines and colors break the routine itself, setting the silence of the painting in its best place. Metaphors give depth to the immediate, in the certainty she provides us with her vision of the world, another interpretation.

Julia Rocha, Art critic and teacher

 

The art, in all its expressions, requires an especial contemplation as a modifying possibility of the human condition. In order to make it happen we should find the clue where the requirement of expression is inevitably projected by the color gesture and the material. And the person executing said gesture, exposing – even with the gentlest caress – her whole life. I believe Ana Cabrera Grohs’ artwork reveals herself in the above mentioned manner, strongly signifying images which inhabit her, like a tenacious artist. With plenty of optimism and consciousness, her artwork spreads the vitality of a remarkable artist, a fertile nature who is permanently creating a laudable expressive synthesis. Creating metaphors from intensity, Ana Cabrera Grohs determines never-ending quests for light, life and the encounter with other revelations. Her project is an ethic decision consistent with sensibility, where the earth provides us with new inspirations every day.

Luis Debairosmoura, artist & art teacher.

 

For Ana Cabrera Grohs, the act of painting represents a journey, an adventure into the realms of personal experience, sensation, and emotion. Though her compositions are decidedly abstract, they reference distinct occurrences in Cabrera Grohs’ life, both internal and external, which she communicates to viewers not only through the art itself, but also through the act of creating that art.

Inspiration comes to Cabrera Grohs in a multitude of ways and from a variety of sources, within and without, and it is the process of taking those inspirations and materializing them into art that adds meaning to her work. Yes, her paintings visually enrich the lives of all who see them, but they also enrich on cerebral, spiritual, and psychological levels.

Beauty, discovery, growth, awareness, evolution– these qualities and more are embodied in Cabrera Grohs’ artwork. Every painting she creates reveals a story, and stands as an aesthetic testimonial of life as she experiences it. Her art has personal significance for her, of course, but it also offers possibilities to you, the viewer, in that it invites you to participate in her vision, and ultimately to find that special significance of your own.

Alan Bamberger-U.S.A.