In Biblical passages, the journey to the promised land was wild, harrowing, and for some, futile. The people wandered through parting seas, collecting manna, evading curses, and scaling mountains. All to reach a geography of dreams with fertile land, brooks, and deep springs—a land of milk and honey, verdant pastures, and fruit trees. In a literal, allegorical, and abstract sense, The Promised Land is an embodiment of a long-sought desire, a destination where one’s hopes are realized on arrival. Such a vision is what Victoria Montinola brings to light.
A “promise” is defined flexibly: A written contract or declaration that holds a person accountable, each intention is loaded with trust. Meanwhile “land” goes beyond the scope of soil. It intertwines with life—a place to co-exist, fulfilling basic needs. Without sustenance and shelter, the area becomes unlivable and uncertain. It is only when the rovers settle that it becomes neutral ground to create memories. As the land becomes a space for decision-making, so often, greed pushes it to warfare and territorial dispute.
Layering landscape with abstraction, Victoria continues her artistic practice with experimentations that apply varied textured strokes of paint. Meadows are brightened with white dabs like cumulus clouds. A diptych juxtaposes varying views of open space. Warm strokes transmute the sensation of “Golden Hour.” These renditions of a promised land are always verdant, adorned with grass or trees. “Promised Land” celebrates the hope that a personal vision can claim a space. While acknowledging the threat of persistent conflict and tension, without passing judgment on positive or negative claims, Victoria creates visual space that aligns with a universal dream—to ultimately call a space one’s own
– Lala Singian
