Abdulio Giudici, Buenos Aires, Argentina, 1914-2008.
Untitled, 1974
Acrylic on board
60 x 60 cm
My paintings also constitute an expression of beauty, although not of a conventional beauty but of an unusual and personal one, worse or better achieved in each work, arising from continually new principles, provoked by self demands. Thus, they do not have the assurance of something permanent, even when they search it, but they turn out to be precarious things, like so many conquests of our times.
Comments: Abdulio Giudici, / Reproduction: Courtesy of Herlitzka + Faria, Buenos Aires /
Gustavo Fernández. Caracas, Venezuela, 1973.
Look at me, 2017
Mixed technique. Acrylic on canvas
120×120 cm
Fernández blends successfully a delicate chromatic utilization with the use of the relief and the textures so as to offer the viewer an attractive, positive and often times tridimensional visual experience. His talent lies precisely in reinventing himself and always aiming to push the limits without falling in excesses, keeping an almost spiritual harmony. A visual experience full of messages and symbols that reach beyond the color.
Comments: Alejandra Carrero Rodríguez / Photography: Gustavo Fernández Studio / Reproduction: Courtesy of the artist
Mario Gómez Vargas. Concepción, Chile, 1968.
The soil of abundance, 2014
Oil on canvas
100×150 cm
In my work, the sensation of passing by persists obsessively, which in turn takes me to place man, generally largely dissociated from his immediate surroundings, as if silently waiting for a permanent return of the objects and its histories, as if having an inkling of the end of the events that many times have not even started.
Comments: Mario Gómez Vargas / Photography: Lorenza Gómez Martínez / Reproduction: Courtesy of the artist
Karina Peisajovich, Buenos Aires, Argentina, 1966.
Gradient XXII, 2016
Color pencils on paper
120 X 100 cm
…through her environmental lighting projects as in her drawings, she alters the sensory experience of the viewer and at the same time, prompting him/her to wonder about the construction of his/her own perceptual process. …the drawings titled “Gradient” can be seen as time encrypted in color. The palette of these works is organized based on the tension produced by chromatic relations, manifesting the unstable parameters of the eye.
Comments: http://abstractioninaction.com/tag/argentina/ / Photography: Bruno Dubner / Reproduction: Courtesy of the artists and Herlitzka + Faria (Buenos Aires)
Mercedes Elena González, Caracas, Venezuela 1952
Dilatante Tapestry, 2017-2019 (Detail)
Acrylic, gouache, color pencils and graphite on color charts
102 x 420 cm
Mercedes Elena González symbolically resolves the controversial synthesis of geometry and representation, and she does it with sharpness and intuition: investigating through her creative processes, lifting layers of light and shadow in this restless “archive” that awaits in her studio.
Comments: @hffanewyork / Photography: Julio Osorio / Reproduction: Courtesy of the artist and Henrique Faria Fine Art, New York /
Esvin Alarcón Lam, Guatemala, 1988.
Lavender eruption, 2019
Acrylic on canvas
61 x 61 cm
The pink volcanic triangles of Esvin Alarcón Lam take the history of this powerful symbol into an exciting new and allegoric territory, constructing implicit over-meanings of the graphics of the collective Silence=Death and, aligning the strength and power that comes with the re-positioning of historically destructive symbols, with one of the most distinctive geological characteristic of Guatemala. By combining the triangle and the volcano, Lam forms an ad hoc image of the homosexual Guatemalan identity…
Comments: Andy Campbell / Photography Mario Santizo / Reproduction: Courtesy of the artists, Herlitzka + Faria ( Buenos Aires) and Henrique Faria Fine Art (New York)
Abdulio Giudici, Buenos Aires, Argentina, 1914-2008
Constellation 2, 1994
Acrylic and graphite on hard board
60 x 60 cm
My paintings also constitute an expression of beauty, although not of a conventional beauty but of an inedit and personal one, worse or better achieved in each work, arising from continually new principles, provoked by self demands. Thus, they do not have the assurance of something permanent, even when they search it, but they turn out to be precarious things, like so many conquests of our times.
Comments: Abdulio Giudici, / Reproduction: Courtesy of Herlitzka + Faria, Buenos Aires / Color separation: Andros Impresores
Margarita Paska, Buenos Aires, Argentina, 1932.
Butterfly and Lip Bay, from the series Rorschach Drawings (1983)
Watercolor, airbrush and ink
46 x 61cm
…unconnected images that are mixed behind closed eyes… …using the metaphor to explore the structure of the unconscious. The maps… …intend to trace that undecipherable space with numbers and arrows. …the schemes and notes seem to refer to a real geography… …the Rorschach inkblots… …refer to common interpretations. …the lip shapes allude to the diagnosis of how the subjects weave the physical harm and the sexual stimuli. The mix of morphologies suggests the psychoanalytic concept of condensation, of an image of memory that transfers its load to another idea.
Comments: Julia Detchon / Photography: Daniel Kiblisky / Reproduction: Courtesy of the artist and Gallery Herlitzka + Faria, Buenos Aires / Color separation: Andros Impresores
Gloria Gómez Sánchez, Peru, 1921-2007
Untitled, 1960
Mixed technique
63.7 x 82.7cm
…her Lima debut …featured a series of intense physical experiments with materials and surface manipulation and the deployment of chance, …a dramatically distinct approach to abstraction… Her second solo exhibition… brought together precarious assemblages made with flattened everyday objects, refuse, and metal wire.
Comments: Dorota Bizcel / Photography: Gloria Gómez-Sánchez Archive / Reproduction: Courtesy of Gloria Gómez-Sánchez Archive and Henrique Faria, New York / Color separation: Andros Impresores
Amalia Valdés, Santiago, Chile, 1981. Lives and works in Berlin, Germany
Made in Germany, 2017
200 pieces of stainless steel, copper and bronze. 10 x 10 cm each
150 x 150 x 8cm
Made in Germany is a re-interpretation of a Chakana, a figure of Andean origin representing a bridge or a staircase. It harmoniously personalizes the relation between short and tall, the earth and the sun, between the human beings and the higher beings… This robust figure, of ancestral and sacred origins, is partially drawn and, it becomes ephemeral as it simultaneously dissolves itself on the wall.
Comments: Amalia Valdés / Photography: Maite Zubizarreta / Reproduction: Courtesy of the artist / Color separation: Andros Impresores
Jaime Gili, Caracas, Venezuela, 1972. Lives in London, United Kingdom
a417 (tianet1), 2007-2017
Acrylic on canvas
175 × 192cm
I grew up in Caracas at the peak of a very singular local modernity in art and architecture, in a tropical and multicultural city full of urban art and great architecture, full of optimism and character; a city built by artists and architects working together in a single dream fuelled by a strong oil economy. I started my art studies in Caracas as I witnessed the slow dismantling and ruin of some of the city’s best institutions, buildings and urban art.
Comments: Jaime Gili / Photography: Courtesy of Jaime Gili Studio / Reproduction: Courtesy of private collection / Color separation: Andros Impresores
Christian Mera, 1980. Quito, Ecuador. Lives in Spain.
Signatures series (2017)
Mixed technique on canvas
70 x 100 cm
Mera stands out for composing a painting in which he reveals his enormous capacity to handle the formal aspects of the craft: composition, color, textures, light… He does magic combining diverse techniques… He immerses himself in the old to develop a new language, to achieve that seal of authorship which very few attain.
Comments: María de Jesús Abad Tejerina / Photography: Pamela Corrales García / Reproduction: Courtesy of artist / Color separation: Andros Impresores
Address
P.O.B 51842, Caracas 1050 A – Venezuela
Phone: (+58-212) 9917525; 9923224
Camino El Alba 9500, Torre B, Oc. 323, Las Condes, Santiago, Chile CP.7600830
Phone: (+56) 582386092; 582386090;
(+56-9) 63914970
Contact
interciencia@gmail.com
interciencia@revistainterciencia.org