Exhibition “Waste water” at the Emilio Vaisse Workshop Gallery
- Emilio Vaisse Workshop Gallery, Emilio Vaisse 561, Providencia.
- From January 6th.
Painting as an impulse of life and as an urgency, to a large extent, this is the presumed state of Fernanda Barceló, a Chilean visual artist, who has built an outstanding professional career for about a decade.
The series began in Santiago sometime before the social outbreak of 2019, and continued with comings and goings and a new residency stop in the town of Puerto Montt, in his native Los Lagos region. Together with this, and decisive, was the birth of his two daughters, which drastically conditioned his artistic work, due to the demands that education entails.
Timeless and with very little sleep, Fernanda Barceló claimed not to abandon painting during the puerperium. She participated in in situ competitions, which proved to be a very effective exercise in activating the craft, letting go of the hand and resisting painting while she enjoyed, learned and also suffered the experience of becoming a mother.
Landscape is one of her habitual registers, and the luminosity, beauty and eloquence of southern Chile have led her this time along a fluid path. Even though he sometimes fought with the media, he systematically drew and painted with tempera, acrylics, charcoal, decoupage inks.
“Sometimes the materials give you the struggle and distract you or don’t let you do what you set out to do,” says the artist.
However, these materials were adequate for the state of emergency she was experiencing: the imperative to paint and face the first months of motherhood, in the case of her second daughter, in times of confinement due to the Covid 19 pandemic.
All in all, he managed to develop a body of work based on landscape situations, moments that captured his attention such as the riot of seagulls, their peaceful confluence and their splashing in puddles of sewage; swimmers; horizons of sea and sky; a small explosion of sand dust; some lonely vacationers or his self-portrait of him in the process.
“I connected a lot with the landscape, it’s important and poetic to find the light of every place, even the emotionality has contributed, to find the taste and reach the verisimilitude with the materials.”
Parallel to the process of the Constitutional Convention – and with the atmosphere of expectation and enthusiasm that a potentially transformative process for Chile implied – Fernanda titled each painting inspired by the pages of the constitutional text. “Annual Convention of Migratory Birds”, “Plenaria” or “Simple Majority” are some of the works on display, whose exhibition itinerary began in 2022 in emblematic halls of southern Chile, and ended with the inauguration of the new year in Santiago, where it can be visited until 30 January 2023.
Like his previous works, “Aguas servidas” responds to long-term investigative and experiential processes. In this mode of work, Fernanda Barceló has presented in previous years series such as “Exercises to save poetry” and “Study for an unequal race”, the latter based on the feat of the Chilote athlete Tito Águila, who crossed a I swim the Canal de Cacao. They are bodies of work whose course goes beyond painting itself, integrating other fields such as anthropology, ethnography and journalism.
He was born in Corral. He studied at the Arcis University, at the School of Visual Art and Culture. He worked as an assistant for two years in the Painting Course with the teacher and artist Paz Castañeda, who deeply marked her with his critical gaze towards artistic work and painting in particular. Since 2009 he has been working on the territorial, symbolic and social context of the sea in Chile. From his research with the cross-country swimmer Tito Águila, (Study for an unequal contest, 2013) he has incorporated practices related to ethnography and references to literature in his methodology and final proposal.
2022 Wastewater, Hardy Wistuba Room, Diego Rivera Cultural Corporation.
2013 Memory Landscape and other portraits, Diego Rivera Cultural Corporation.
2016 Wooden coast glass eye, call your mother in bad weather, Balmaceda Galería Activa, Puerto Montt.
2018 Study for an unequal competition, Sala del Pilar, Rancagua, Diego Rivera Cultural Corporation
2014 The elegance of disappearing without explanation, MUCIC, city of Cuernavaca, state of Morelos, Mexico.
2009 UNA, local 2702, Santiago, Chile.
Residencies, Internships and Recognitions
First place Sala Surmundo, Cultural Corporation, Diego Rivera.
Casa Poli, Conversations from Colium.
Artistic Education Internship at the MAC, Museum of Contemporary Art.
Migrant Grant, Museum of Fine Arts.
Wet land, Bodies of water. Residence in Tierra del Fuego.
Residency at the MAM Museum of Modern Art of Chiloé.
Honorable mention, Mar Austral Contest.
Competition Selection, Southern Sea.
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