In Babel, the winning work by Beatriz Ezban, the pressures of the current atomization of plastic languages have definitively influenced the decision to give a specific identity to what could have been mere abstract strokes on a chromatic and texture field. The most quoted allegory from the Bible during recent years is actually an automatist figuration on an arid paste, like burned earth, which gives a nature of ruined inscription to oblique convergent strokes around a spiral that is a vortex as well as a ziggurat. From this point of view or other possible ones, Babel confirms plastic values that neo-conceptualism relegated, those of the sensory communication capacity of painting, prior to some association of ideas faced with its central motive, in this case an accessory in last instance.

The laconism, the indifference, the impenetrability and the intellectual challenge of neo-conceptualism have managed to increase the appreciation of what is strictly pictorial. The manual sensibility, the chromatic seduction, the sensorial provocation and the capacity of subjective stimulation can be new for those who have had enough of the intellectual presuppositions of objective and non-objectual disciplines. Apparently, the Italian trans-vanguard, the German neo-expressionism and the New York post-vanguard presented to her, as indicated in these prefixes, the last attempts to significantly activate the flat painting surface. It has been said that with these tendencies it would seem that the discourse has been exhausted and with this, the need to point out determined directions for art, to set the attention in itself as a phenomenon that can face only through enigmas, its own indecipherability, which is the same as that of the world ...

Luis Carlos Emerich
Summary taken from the catalogue text of the XI RUFINO TAMAYO PAINTING BIENNALE, 2002, in which Beatriz Ezban’s work Babel was awarded a prize.
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