The last art pieces of Gachu Iurcovich happens a little in the way of a personal diary, on small areas an from changing situations, slight and even festive in cases, of dramatic nature in other cases or subtly melancholy. Production of an imaginative human being, sensitive to the feeling of things and curious, investigator, the intimate fusion of these conditions lead to a constellation of signals in any way confused or necessarily hermetic: heavy or aerial configurations, lines, spots, sparkles which may emerge from abysmal funds or perch, float softly textured surfaces. Other times is the pronounced contrast of the light over a continent shutdown, the color on neutral fields that which encourages this sort of appearances, or perhaps it is more appropiate to speak of revelations entrusted to the attentive perceptions.
Slowly, gradually, are installed in the observer notes from a grave cardboard black-sepia - deep blue, in the modality of a harmonious one prolonged and impregnation; the equitable division between cold and heat in
another, through fast grafias, and smudges and dragged framing that frame and soften the contrast level while clear sense of depth: the entry of a defaulter six legs caterpillar, stubborn invader of a despoiled; a group of schematic figures moving between light and shadow with restless air infiltrated because of the proximity of an imminent fact; the imposition of and extravagant strange, in an equally imaginary ambit, the hypnotic attraction in the end strongly illuminated script in the middle of a dark shadow.
Rarely used in the author paints an explicit language as that goes in her drawings. the exception here is the "Ofelia" in her liquid shroud succinct and successful version of this image addressed by the plastic of different times and countries. But this is not the only work related to the theater, one of the other interest of Gachu. Much of this series coincides with the ilusionistic device generates its own charms and climates

Thus cutting silhouettes, and the excessive projection of its shadow, the light artifice blurred the boundaries of a scene. This mechanism is associated with the surrounding and discovers the wonderful world in tables.
On the other hand also there is mixed between the two sketches of a stage design and a part of the picture fluctuates thematically between the point of everyday life and the scene composed on the basis of a plot or script.
An earlier period was devoted to sculpture, the artist modeled with skill using various materials also made some direct work: assemblages, glued and colored paper.
Part of her work is assimilated to an academic model commonly assumed in Schools of Fine Arts.
It's also important the influence of teaches in the young artist, such as (Aurelio Macchi y Jorge Demirjian among others), but this dependency vanished in the nineties when she traveled and then moved to Germany working on paintings that are more related to a free abstraction, central objective of this tribute exhibit.
At the same, time, in the European nation she go back to Scenography studies(she was a student of Gaston Breyer and also performance many works related to this area and also customs, after studying computer animation in Potsdam, she co participated in the elaboration of animation projected in giant screens, one in a concert and the other for the Deutsche Opera of Berlin.
Very talented and active, Gachu left a vivid memory among us and in the country where the unfortunate took place. She was part of a generation that in grand number used the electronic media the interdisciplinary approach and though limited, inevitably brief she seems suitable in another of her works. Work comparable to the pictorial one in a key aspect: The love to an order that she patents even in the works of informal cut it reveals th desire to establish the lasting and narrow communication.

Gachu

6 / 1 /1967 Tucumán - Argentina

18 / 11 / 2002 Sönke - Alemania

When I met Gachu she was 13 and I was 15 years old. I remember that first encounter, she was wearing a cashmere sweater with a turtleneck and a worn jean. Her bulky hair (which then translates into a sculptural self-portrait) and her shyness was her letter of presentation to all of us who men joyed for several years studying in the studio of the teacher Ernesto Pesce, located in Pasco street628.
I used to importune her with questions of political order. It was the epoch: the chats of that nature were a routine in the studio and I was an active member of a political party and was trying for all means to affiliate her.
After many years she confessed that she felt restrained with my interrogations, one day when she go home, the first thing she did was ask the father who was a "gorilla".
Over time we developed a very intense and deep friendship. She was a very beautiful, transparent person. The warmth of her voice, it sounds in my ears.
The sweetness, unrelenting communication and the ability to listen to who ever was with her, were natural characteristics. Her curiosity led her to travel to different places of the planet, and to learn about different cultures as well as to penetrate into many different creative expressions: everything she made bloomed as a signal of her enormous talent.