Joel Grossman, Bogotá, Colombia, 1976.
#36 Approximate Grid, 2017
Oil and gold leaf on canvas
100 x 100 cm
For Joel Grossman art is a residue of humanity. A humanity that more than 20 thousand years ago gave testimony of its existence in the cave of Lascaux… Volume, appearance, spaciousness are synonyms of an aesthetic rooted in the traditions and rituals that connote culture.
Comments: Juan Pablo Casado / Photography: Courtesy of Beatriz Esguerra Art / Reproduction: Courtesy of the artist and Beatriz Esguerra Art / Color separation: Andros Impresores
Oswaldo Maciá, Cartagena de India, Colombia, 1960
Flying Glasshouse, 2013.
Ink, Victory brown wax and silver leaf on tracing paper
42 x 59 cm
My sculptural compositions are formed from images, objects, sounds and smells. Whether on paper, object, video or image, the works operate as sculptures … Sculpture is concerned with the relationships people have to the space and volumes that form the world we experience; in utilizing a wider perceptual range my work opens itself to subjectivity over objectivity, experience over knowledge.
Comments: Oswaldo Maciá / Photography: Arturo Sánchez / Reproduction: Courtesy of the artist and Henrique Faria, New York/ Color separation: Andros Impresores
Luisa Estela del Valle Mañez, Curicó, Chile, 1959
Warm Sails II, 2007
Oil on canvas
110 x 140 cm
“Sails”… provides the canvas an emotional-esthetic value, with surprising results, light, color or movement effects in the nature of each landscape or sails, which serve her to interpret her landscape-related, chromatic, optical or physical versions modern versions…
Comments: Manoli Ruiz Berrio / Photography: Miguel Ángel Chamorro Encina / Reproduction: Courtesy of the artist / Color separation: Andros Impresores
Mariana Bunimov, Caracas, Venezuela, 1972
Red Landscape, 2016
Oil on paper
70 x 88 cm
“Much like our ancient ancestors, …Bunimov is a hunter-gatherer …reacts primally, foraging through the wilderness, pulling things into herself, stockpiling what she needs -and more- for the long, cold winter of her consciousness. … In Bunimov’s recent body of work, she has taken to painting as another way to collect and filter, …In her vibrant paintings, we find kaleidoscopic mountain ranges and skeletal buildings, flying drones and floating islands… It is, upon first glance, a rather strange collection of images.”
Comments: Jens Hoffmann / Photography: Arturo Sánchez / Reproduction: Courtesy of the artist and Henrique Faria Gallery, New York / Color separation: Andros Impresores.
Verónica Di Toro, Buenos Aires, Argentina, 1974.
Series Doors nº6, 2015
Acrylic on canvas
150 x 150 cm
“Every painting by Di Toro is a kind of “abstract sign” that operates in the viewer at an unconscious level, apart from patterns of speech and writing. These pictorial units relate to others by means of modules, forming sets, and it is in this dialogue where a chromatic space develops that is perceived physically and emotionally, due to the large formats she chooses for her work.”
Comments: Gabriela Boer / Photography: Fabián Cañás / Reproduction: Courtesy of the artista / Color separation: Andros Impresores.
Paula Swinburn, Santiago, Chile, 1964.
Zoomorphous, 2015
Enamel on cotton paper
80 x 100 cm
“Paula Swinburn delves into a world where the state of purity and silence gives her the perfect support for her work, which leads us to a state of conscience of heightened calm. …has pursued this space, and achieves it in a counterpoint where precision seizes color and makes it flow in unique compositions.”
Comments: Ernesto Muñoz / Photography: Sebastián Sepúlveda / Reproduction: Courtesy of the artist and www.arteallimite.com / Color separation: Andros Impresores.
Rubela Dávila, Lima, Perú, 1943
Relief in white, 2013
Acrylic on wood and board
100 x 100 x 6,5 cm
“In my work, I explore light and shadow, using them as a plastic language. Both are generated by the shape of reliefs on the surface. I regard the function of light and of shadow as essential compositional elements and also as white, minnimalist, chamging elements in the structure.”
Comments: Rubela Dávila / Photography: Jacques Custer / Reproduction: Courtesy of the artista and Henrique Faria New York & Buenos Aires Gallery / Color separation: Andros Impresores.
Ramón Antonio Chirinos, Churuguara, Falcón, Venezuela, 1950.
Natural framework, 2015
Acrylic on canvas
130 x 130 cm
“His creations are based on the decomposition of the environment, focused towards the minimalist perspective, evidenced in a lyrical landscape, where the color and the strength of the drawing prevail within the work. …Among his works is Natural framework, based on a framework of trees that form geometric figures which, with its depth, gives a connotation of a city where nature intervenes what is man-made.”
Comments: Germán Rubiano Caballero / Photography: Claudia Salmón / Reproduction: Courtesy of the artist / Color separation: Andros Impresores
Douglas Sosa, Caracas, Venezuela 1988.
Civilian Portrait, 2014
Mixed technique – Acrylic and paper collage
80 x 80 cm
“His artistic work is based on the relation between color and language. …abstract paintings with intense color harmonies that contrast with writings from anonymous sources. These written signs are part of a collective memory of the Latin American society: poems, curses, ads, iconography, among others. They are confronted with colorful surfaces, generating diverse readings and interpretations from each work.”
Comments: Elvis Acosta Garrido / Photography: Karen Pita / Reproduction: Courtesy of South Arts, Inc / Color separation: Andros Impresores
Vanessa Mac-Auliffe Letelier, Washington, EEUU, 1970.
Terrestrial Energy, 2016
Oil on canvas
180 x 180 cm
“…inspired by music, Vanessa Mac-Auliffe composes abstract oil paintings that act as a portrait of sound. Imploding, exploding, and dripping like artfully melted plastic, her works utilize a rich color palette, ranging from aquatic tones to sanguine bursts of sun.”
Comments: www.agora-gallery.com / Photography: Vanessa Mac-Auliffe Letelier / Reproduction: Courtesy of the artist, www.macletelier.com and Artium Gallery, Chile / Color separation: Andros Impresores.
Magdalena Vial, Santiago, Chile 1972.
Picking Up, 2014
Oil on canvas
100 x 100 cm
“The weaving of serigraphy-printed dots impregnates the canvas as if watercolor, they superpose themselves as halftones and merge as heavy pastes in the final result. The flat color diffuses visually in passages from one to another weave or, sometimes, as layers of certain transparency that remind of veiling… …it is the superposition of layers what gives richness and dynamism to the painting…”
Comments: Paz Castañeda / Photography: Magdalena Vial / Reproduction: Courtesy of the artist and Cecilia Palma Art Gallery, Chile / Color separation: Andros Impresores
Interciencia is dedicated to stimulating scientific and technological research, to its humane use and to the study of the social context in which scientific and technological development occur, especially in Latin America and the Caribbean. To this end Interciencia encourages communication among the scientific and technological communities of the Americas.
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