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Vicky Uslé pintora española
The artist collection of Onesixone was inaugurated by the worth painting work of the well-known artist Vicky Uslé, which can be appreciated in the bags of the collection that has her name. This direct intervention in a daily object gets the art to be democratised, bringing closer the artistic values that such unique object has to the cosmopolitan women. The artist collection of ONESIXONE was inaugurated by the worth painting work of the well-known artist Vicky Uslé, which can be appreciated in the bags of the collection that has her name. This direct intervention in a daily object gets the art to be democratised, bringing closer the artistic values that such unique object has to the cosmopolitan women.

Vicky Uslé

In the West, we use numbers to represent things, mathematical and geometric—even to symbolize space, order, movement or tension, but numbers hardly express other conditions of what is vital and human.

Vicky Uslé es una artista internacional nacida en España y criada en Nueva York  que ha visto el mundo y ha encontrado su inspiración en él mediante la naturaleza y arquitectura.

 Su obra transmite sentimientos de optimismo y generosidad, certeza y determinación que se manifiestan en la capacidad de invención de imágenes abstractas de potencial poético.

Su obra funciona como un dibujo, posee cualidades como la espontaneidad, el dinamismo, la libertad, la fluidez o la ligereza, aunque algunas de las imágenes son particularmente complejas. Se trata de espacios refractarios, construidos a través de la repetición del movimiento de pinceladas que actúan como imágenes modulares o arquitectónicas.

 Formas orgánicas y caprichosas, pero también —y más frecuentemente— con otras formas geométricas de carácter analítico, flotando en un espacio vacío y claramente metalingüístico, en el que éste se articula, se pliega y retrae como las formas cambiantes de un caleidoscopio.

EN PALABRAS DE VICKY USLÉ

Working, intervening in the exterior of an object-space, geometrically perfect, prompted me to play freely with leather, seeking to redefine the notion of proportional perfection, to transform it into something living. hoping that the subject comes alive.

The pursuit of balance has always been a goal of human societies and of geometry; the golden number and golden ratio have served to provide objects and representations of aesthetic balance and harmonic reason. As i see it, this cultural awareness of harmony helps us make sense of the natural chaos that surrounds us and is part of us, like the reflection of a greater, boundless universe.

Speaking, thinking in these terms, I do think not in proportions and measurements. not in an aesthetic geometric balance, but in the priceless movement of things rather than a harmonic place or point in the distance, the space of transition that exists in two places or points in balance, its vibration.

Following the Fibonacci sequence, nature uses successions that are dimensionally proportional to the golden ratio, and that in a similar manner affect us too—our own structure, even our genetics.

If we carefully study the cephalopod mollusk, nautilus, whose shell is a reference for studies of the golden ratio, we note that it is not quite perfect—moreover, its exterior has nothing to do with its interior, and it is apparent that every specimen is unique in itself. every shell—here iʼll use the word skin—has its own drawing, color, touch and scar, thus distinguishing itself.

If we carefully study the cephalopod mollusk, nautilus, whose shell is a reference for studies of the golden ratio, we note that it is not quite perfect—moreover, its exterior has nothing to do with its interior, and it is apparent that every specimen is unique in itself. every shell—here iʼll use the word skin—has its own drawing, color, touch and scar, thus distinguishing itself.

Given the perfect identity of a OneSixOne bag, I felt the need to signify its skin as being the reflection of a vital, destabilizing experience. in search of a singular energy, in sync with its organic component, leather—expressive hallmarks of vital stimuli and turns, like storms that move and breathe life. An expression of the unexpected, provoking the bag to breathe through the skin and come to life.

As a painter, working with natural leather, an unfamiliar material to me, has allowed me to see and feel with different eyes, to discover something very different but also very near. To rub, punch, show sensitivity—in short, to experiment with the notion of stable imbalance and the possibilities that emerge from an encounter with the unexpected. Everything has a reason, and perhaps that is also why it is always so different.

La colección de bolsos de Vicky Uslé para Onesixone fue presentada en Nueva York y está actualmente a la venta en la web oficial de la marca.