"The light of the port, of the field and dreams"
Owner of good techniques, handling of light and affection for the themes that you expound your trowel in, not our own to short-lived fashions and winds without morning, Golovko explores the immediate world and gathers, that way, his encouragement for his creative work. You circulate for a close port, for ships that they return, they depart or they rest in color and successful forms, and with a light touch of melancholy that refers to, secretly, the perennial and ancient journey of the human heart. Waters and skies are solved without facial expressions, and with soft and subtle sensuality. Blue clouds vibrate in time to suns or stars, and Golovko sings in these one freedom of rare and agreeable poetry.
Brief of anecdote because your depth excludes the facial expression and the discourse, Golovko incursions, and with excellent fruit, in what's urban, raiseeing homeworks of limpid invoice and shaky light. But you have not gone to the monument neither to history, because you have looked for the small history, that one that you share from your infancy and dreams with the world that you go over courted. They appear then, some walls and some nebulous figures that share a siesta, his cicadas and a conference far from agitation, of the fury of the sound of the jornada.O a corner distributed by neighbors and memories that today, perhaps, they no longer be, but that Golovko has rescued of silence and the indifference of the days. And there, in what's immediate, at landscape and humanity, the artísta vibrates and picks up the fertile seed of life, that harvest of beauty and magic that it has achieved, wisely, to materialize in each sign that we are in for, with your lesson of faith.
Profesor Jorge Hector Paladini , La Plata , Argentina. Mayo de 2007
"The idiosyncrasy of works and the poetization of elements"
The Argentinean painter Ricardo Golovko clearly expresses his predilection for themes related both to the sea and to the relationships between men and animals, which are presented in a perfect symbiosis. Always in movement, his themes reflect a hardworking spirit based on perseverance and determination.
Golovko is a big fan of professions for example that of sailors, and also, anything related to boats, seaworthy ships, and their environment. In this sense, his works are about jobs which are directly related to nature, allowing himself the freedom to use a great variety of colours, which mainly influence on the elaboration of the sky and sea water.
He exposes not only skies covered with rainstorm clouds but also blue cleared skies with bright white clouds. Golovko also goes into detail when it comes to the dynamic of composition and thetreatment of gestures and light in each painting by means of a full investigation of colours. He does this by presenting landscape’s conformations which are characterized by their subtlety and calculated density, specially that of the skies. Golovko always orientates his pictures making some specific points of light prominent in order to give an adequate contrast to a certain piece of work.
On the other hand, this painter concentrates in his work the reflection of the sky on the sea water. He does this as if the painting were a continuation of this phenomena by means of a harmonious contrast which gives coherence to a scene where everything is outstanding and specific. Outstanding, because he proposes to incorporate earth and sky into a same concept by means of the water portrayed in the paint which merges one into the other. Specific, because he is a landscape painter who dominates the creativity through the use of colours but without rejecting drawing, which serves both as a contrast and also as a medium to achieve definition. He is a chromatic painter, who employs a different topics in order to deal with the concept of the subordination of nature to man’s work, being permissive with it: because he does not take it as a mere aesthetic instrument. That is to say, Golovko understands nature’s soul, linking it to the paint in such a way that it does not act as a negative element of contrast at all. He inserts us inside the context of substantial harmony, employing oils upon canvas delimiting the chosen density in order to avoid abrupt expressions, asymmetric concentrations of paint or grandiloquent sparkles of colour which the only thing they would do would be to destroy the poetic complicity which he portrays in his work. Golovko is a costumbrist plastic artist but, at the same time he respects the idiosyncrasy of sensations, deepening the environments by means of a generous use of colours, full of intermediate shades and calculated tones that polish the dynamics of composition inoculating an equidistant effervescence and allegoric candour into a context marked by the expression of light and the prevalence of water, which eventually becomes the picture’s protagonist.
The human figure is important. Although Golovko always employs it as a complement of the landscape’s dynamics, it is a figurative iconographic effort which perfectly combines itself with the abstract tendency portrayed by the rest of the composition.
In his sea pictures the human being is substituted by ships and boats, which are drawn with precision, taking care of every detail but without abusing of them, since what is really important is the general meaning which the painting transmit: the colour prevails over the picture, but it also allows for the importance of the drawings to be noticed.
Joan Lluis Montané. De la Asociación Internacional de Críticos de Arte.
