MARIANA COPELLO: ABSTRACT MATTER
In her post-modern abstraction, Mariana Copello proposes a rupture and at the same a dialogue with modernism. On one level, through the random and irregularly organized segments of pieces sticking one another in different asymmetrical order, Copello argues against the order and the rigid process of creation that exist in the modernistic approach, as well as in its academic tactics. The planches attach together on asymmetrical positions, and at different changing levels, giving the work an inventive movement and charisma. The sculptures reveal a dynamic constructive method of structural un-equivalency. A seductive twist of chance emerges on the ever-changing positions of the planches. The works play on fortuitous compositional combinations creating surprise and incidental visual effects.Copello’s simple geometry and its highly industrialized finish on fiberglass or aluminum remind the simplicity and the “objectual” allure of Minimalism. The bright colors of the works sustain solid connections to the subliminal impact of memories of nature in the artist. Her biographical history associated to the tropics, to her natal city of Maracaibo in Venezuela, weight outstandingly in the powerful chromatic forces of the sculptures.
Mariana Copello with her arresting geometries is one of the emergent voices in America that sets up a new dialogue with what Michael Fried called “objecthood” as a notion for the purity and inner spirit of the abstract matter.
By Milagros Bello, Curator
Adriana Dorta has suddenly become one of the most successful emerging artists in Miami, ever since her exhibition during ArtBasel Miami 2015. Her work cautivates not only for its beauty, but for its spiritual message and hability to trap whoever looks at them”
By Ana B Remos, Miami Herald
Adriana Dorta Sáez, born in Caracas, Venezuela, graduated in Business and studied Visual Arts at the American Art Institute of Miami. From an early age, she developed an inclination towards the art inspired by effects of light through shades and color in the stained glass of France’s old cathedrals, like Chartres and Notre-Dame en Vaux. Dorta says “… As an adult, I now perceive my paintings as a form of multicolor light through precise lines that reflect the influence of my passion for stained glass and how it reflects the straight lines that move throughout the day. That’s how I try to transmit the magic that can only live in those sacred windows.” She also has a great passion for geometric abstract art, as can be viewed in her work at Art Boca Raton. Geometric art was significant in the art of native cultures in the Americas as well as in Europe, Asia, Africa or Oceania. These primeval artistic languages inspired great international masters of Kinetic, Optical and Geometric Abstraction from which Dorta takes great motivation, such as Yaacov Agam (b. 1928), Josef Albers (1888–1976), Kenneth Noland (1924–2010) and Frank Stella (b. 1936). Dorta cleverly studies and reinterprets them, reaching new dimensions and unique creative conceptions through her exquisite and innovative artworks.
By Mariavelia Savino.
LUISA DUARTE’S LUDIC SCAPES, In Luisa Duarte’s Prints geometric shapes are in an ongoing conversation with each other, with the artist, and with the viewer. Three trapezoids, custom-cut in engineered wood, served as a point of departure for Luisa Duarte’s dive into the pictorial field. Her architectonic constructions offer us a compelling way to enter and exit space, both literally and metaphorically. Her use of positive and negative space explores loneliness, togetherness, and everything in between. Luisa Duarte’s art is ludic. Ludus in Latin simultaneously refers to play, sport, school, and practice. In his book Homo Ludens: A Study of the Play-Element in Culture Dutch cultural historian Johan Huizinga examined play as a necessary condition for generating culture. Playfulness allows Duarte to constantly experiment in the “playground” of her Silver Street studio, endlessly changing the rules of the game so that more happy accidents can occur. Luisa Duarte’s stories are encrypted in her intriguing personification of geometry. Rooted in geometric abstraction, Duarte refers to her own trapezoid shapes as human beings reexamining the mysteries of life, love, and loss. This constant investigation of strength and vulnerability creates a set of tensions, a stipulation for construction, deconstruction, and reconstruction, but also ultimately a feeling of balance, order, and freedom.
By Anna Tahinci Ph.D, Professor and Area Coordinator of Art History The Glassell School of Art, The Museum of Fine Arts, Houston.
Lorena Morales aims to depict the nonrepresentational, leaning on geometric forms andcolor, and yet, by reducing her reality, past and present to its purest, most basic structure, she still represents her most inner thoughts and emotions. Purposely, she incorporates allusions to her homeland into her work, while playing freely with movement, color and light. Because there is something subtly nostalgic in Lorena Morales’ works that engages the viewer. Her work is not as purely abstract lines, or a vibrant array of colors and shapes, or even strict optical compositions. They express the affirmation of her identity, the story about her migration, her journey of creativity, change and future possibilities. She is continuously researching on the spatial relationships between various compositional parts, which can be disassembled and rearranged. Her inclination for using industrial materials such as Plexiglas, aluminum, and spray painting, gives her work a distinctive urban and contemporary appearance. No wonder one of her striking works was selected in 2016 to be part of the permanent collection of the George R. Brown Convention Center for all Houstonians and tourists to appreciate. In her most recent investigation, Chromolights, spray enamel paint on acrylic rods over aluminum plaques, she further explores her vision of austere essentials: the interaction of pure bright colors and light in the room, and its shadow refections on the walls.
By Veronica Valarino, Curator. Former Cultural Attaché for the Venezuelan Foreign Service & Museum Specialist focused on Latin American Contemporary Art April 24, 2017”
“Delsy Rubio has had a maturation trajectory that started from her architecture studies, first, then drawing techniques, to complete her formation on graphic design attended by computers; her evolution has been methodical, without hurries, step to step in the quest of harmonizing her mind with the ideas of the world, mastering the materials that she uses, understanding in depth the academic concepts that she has worked, experiencing until achieving the moment of the revelation, the alètheia of the Greeks, that in art, is the encounter with its truth. Only reaching this state of conscience is possible to transmit, in the objects that she recreates, the symbols and languages that make possible the encounter with her public. Each piece of Delsy Rubio is a conquest of space and colors, she is essentially a committed artist with her aesthetic proposal: reliefs of irregular geometric markings, volumes of clean and delicate industrial finishes, color games and lights that illuminate horizons of expectations that move the senses.”
By Saúl Godoy Gómez, Writter and researcher