First Independent Gallery
Bergamot Station G6
2525 Michigan Avenue Santa Monica, CA  90404
tel: 310.829.0345  fax: 310.829.7612
Wed-Sat, 11-5 & by appointment


Margaret W. Gallegos
May 23 June 23, 2012


My work has always been intentionally eclectic in both subject and approach. Whether the piece is abstract or figurative or both, what matters to me is that the means contribute to an essential expressiveness in the work. That was—and still is—my final measure: coherence and integrity within a particular work. I want the essence of a work to be an organic outgrowth of my evolving intentionality for that particular piece, however varied that might be from work to work­. I start without an intention, then as the work progresses an intention begins to evolve along with the work, gaining in specificity as the work takes form.  When I make formal decisions—to adjust, add, eliminate, or paint over a passage— sometimes it is to rectify an area that is not ‘working’ visually in the painting as a whole.  These changes may modify a burgeoning intention that was becoming clear to me and the change may then affect my intention or replace it with a strong new insight which then completely alters that intention.  There comes a point early or late when an intention begins to solidify, to set, and then I use all the formal means at my disposal—line, color, mass, tone, contrast, for example— to fully and strongly actualize it.

In developing an intention I am interested in my own response to what I feel in relation to a developing piece, however multi-layered and chaotic that response might be. My responses are based on a combination of my visual experiences along with my internal world of preference, remembrance, introspection, mood, and all the ruminations on visual sensation and perceptual processing that I tend to dwell on: rhythm, mystery, magic. I am very interested in the total visual impact of a work—in its evocative qualities, especially those that cannot be put into words—though one is forced to try.  I am less interested in representational accuracy, where there is representation, or in adherence to the rules that abstract painters live by, or in developing or nurturing a personal style.

I believe that we have fleeting but sustaining inner dialogues with the outer world, and that art can reconnect us to these dialogues—and that is the unifying principle of my work: the use of formal means and underlying materia to capture a feeling of strength and connection with evocative ambiguity.  Why ambiguity? Because I believe that our inner dialogues take place in symbolic terms, being therefore less constrained to a particular interpretation or meaning over time and that ambiguity stimulates visual re-examination, reconnection and reverie.



Barcelona, 2010, oil on canvas, 36 x 36"
Barcelona, 2010, oil on canvas, 36 x 36"

Leda, 2008 - 2010, oil on wood panel, 24 x 20"
Leda, 2008 - 2010, oil on wood panel, 24 x 20"

Adieu, 2008 - 2010, oil on canvas, 18 x 18"
Adieu, 2008 - 2010, oil on canvas, 18 x 18"

Bolero, 2011  oil on linen, 48 x 48"
Bolero, 2011  oil on linen, 48 x 48"



Joie de Vivre, 2011 - 2012, oil on canvas, 60 x 48"


First Independent Gallery • Bergamot Station G6 • 2525 Michigan Avenue • Santa Monica, CA  90404
2012© FIG