Manuela Viera-Gallo, Chilean artist born in Rome, Italy (1977). Works in New York since 2005. Visionaires, 2020
Oil on canvas
90 x 90cm
Her work has brought together universal collective issues, typical of the human condition, together with an intimate and contemporary perspective. During the last five years, has concentrated her artistic practice almost exclusively on painting…In his paintings, Viera-Gallo condensed in an expressive proposal that manifests itself as a multitude of voices articulated simultaneously: the voice that has been silenced, the one that has been distorted, the one that rebels and protests and exceeds, the one that sinks and the one that emerges, the one that entangles itself in familiar constellations, the one that merges sensually with the world, the one that hides behind shields and masks, disguises and smokescreens.
Comments: Cristian Silva / Photography: Juan Pablo Montalva / Reproduction: Courtesy of the artist and Aninat Gallery, Santiago, Chile
Paula Swinburn, Santiago, Chile, 1964. Ocean, 2014
Oil on cotton paper
65 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: Paula Swinburn / Reproduction: Courtesy of the artist.
Luisa Estela del Valle Mañez, Curicó, Chile, 1959. Sails in the City II, 2019
Oil / Acrylic with matter on canvas
130 x 100 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: Estela del Valle Mañez / Reproduction: Courtesy of the artist.
Christian Mera, 1980. Quito, Ecuador. # 25. Signatures series (2017)
Mixed technique on paper
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 /
Cristián Cuevas, Concepción, Chile, 1981. Yellow Flying Atoms (2022)
Oil on Canvas
90 x 110 cm
“The naturalistic and organic aspect of my work finds its conceptual, inspirational and metaphorical support mainly in the natural landscape, matter and space. These works are clear allusions to the plant world that surrounds us, to the esoteric nature of the spatial landscape and, above all, to the energy of our natural cosmos”
Comments: Cristián Cuevas / Photography: Cristián Cuevas / Reproduction: Courtesy of the artist /
Cristóbal Doren Villaseca, Santiago de Chile, Chile, 1971. Magic Forest (2023)
Vertical Loom Weaving
100 x 60 cm
Each knotted strand, that suggested volume, that shy color, the voluptuous light, the bent ghost, the voracious demon, the flower of homage, the untied cord and the chain to the ceiling that holds the loom, are the conductive wool, among so many winding roads, to the creative house of the artist. To it you are invited.
Comments: Jorge Reyes Villablanca / Photography: Cecilia Heredia / Reproduction: Courtesy of the artist /
Fernando Cifuentes Soro, Santiago, Chile 1957. Valparaíso (2021)
Oil on canvas
150 cm x 250 cm
The pigments form compositions full of chromatic vibrations that resonate with their own melody. A distinctive, accurate palette, where pure and bright colors prevail. And even when there are atmospheric variations from one canvas to another, the recurring tone is that of a vital surface and full of energy. The format is also generous … it needs the large scale to manifest itself and gain strength. A painting that, in the conquest of space, takes center stage.
Comments: Daniela Rosenfeld G. / Photography: Andrés Poheler / Reproduction: Courtesy of the artist /
Gina Intveen, Concepción, Chile, 1966. Silence (2023)
Acrylic
30 cm x 30 cm
In my pictorial life I would like to give life to characters that invite us to relate to the simple. In a recent perspective I have sought to celebrate our richness as humans, everything that elevates us. It is very difficult to be positive, I do not always succeed.
Comments: Gina Intveen / Photography: Gina Intveen / Reproduction: Courtesy of the artist /
Juan González Bolívar, Cúpira, Venezuela, 1978. Window (2020)
Acrylic on canvas
90 cm x 140 cm
The image of the landscape and the archetypal house has been used by the artist to creatively elaborate vital facts that have to do with intimacy or memory, but also with uprooting or estrangement . The artist takes up these themes “to return to my place of origin, to that place filled with rainy days where one breathed an air of tranquility, that is why my landscapes are more psychological than physical”
Comments: Elida Salazar / Photography: Darwin García / Reproduction: Courtesy of the artist /
Jeannette Priolli. São Paulo, Brasil, 1948. The Garden of Togaku (2023)
Acrylic and silver powder on paper
30 x 40 cm
In my “Gardens” series, I go through emotional memories and pay homage to artists who have dealt with this theme in a way that interests me. … I have appropriated elements from the varied prints by Japanese artists from Vincent van Gogh’s collection, trying to express the delicacy and poetry of his works … I called this work “The Garden of Togaku”, the fictitious name of an artist who may have lived in the 1850s and 90s, the period in which most of the prints in van Gogh’s collection are located.
Comments: Jeannette Priolli / Photography: Jeannette Priolli / Reproduction: Courtesy of the artist /
Fernando ‘Coco’ Bedoya. Borja, Peru, 1952. Moche Day (1991/2021) From the series Así y asá
Oil on canvas, ceramic
49 x 50 cm
For some time , Fernando Bedoya has been working in the open space between the global and the local in contemporary Peruvian art. By appropriating some elements from the cultures of ancient America, such as Moche and using them as inputs for his images, a kind of singular brilliance suddenly emerges in what could be postulated as a contemporary icon. And so, to the huaco portraits of Moche origin -ceramics with a characteristic handle and emotive faces represented in volume that point towards a recognizable identity -Bedoya … treats them as characters liable to a millenary practice, trepanation…. The same happens with the handle of this same ceramic, which he uses, for example, in a pictorial context, as an assemblage on the support of the same painting …
Comments: Augusto del Valle / Photography: Estudio Giménez-Duhau / Reproduction: Courtesy of the artist and Herlitzka & Co., Buenos Aires /
Margarita Paksa. Buenos Aires, Argentina, 1933-2020. Federal I. From the series Las Flores 1989
Acrylic on paper mounted on canvas
49 x 60 cm
In 1990 she began the series Las Flores…Motivated by the memory of her mother—who died in June 1987—she took as her starting point…the work of the American artist Georgia O’Keeffe, recognized for her paintings of flowers at big scale. …she states: “…fundamentally, flowers upon flowers; printed, painted or woven, also standing out against the wallpaper with flowers.” Paksa repeatedly returns to figuratively based works, and in the evolution of her conceptions, she takes up the craft again, with appropriations and simulations typical of the postmodern condition. With skill and virtuosity she returns to the practice of drawing, immersed in the vibrant colors of painted flowers.
Comments: Herlitzka & Co / Photography: Courtesy Herlitzka & Co / Reproduction: Courtesy of tHerlitzka & Co., Buenos Aires /
Address
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Phone: (+58-212) 9917525; 9923224
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Phone: (+56) 582386092; 582386090;
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Contact
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