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Painting, Oil on Paper
Size: 23.6 W x 31.5 H x 0.4 D in
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18 Views
2
“Dance” Series / Or, Deconstructing Reality This series explores the deconstructive process in painting as a language, incorporating the findings of parallelisms by focusing on the evolution of the artist herself and her expansions and explorations on the formal and conceptual planes, sharpening her technique and submerging herself in reflection and analysis on different referential levels, one of them being the literary and visual work of William Blake—The Marriage of Heaven and Hell—in order to hold a dialogue that goes beyond binary conceptions and gives form to the complexities that are already present in reality and re-presented in art. Tied to the language of plastic two-dimensionality, dance also makes its appearance, revealing the limits of surfaces or bodies and the power of ritual. Rhythm is a connecting element in the composition between the planes, the becoming of the characters and the exploration of cultural paradigms.
2021
Oil on Paper
One-of-a-kind Artwork
23.6 W x 31.5 H x 0.4 D in
Not Framed
No
Ships Rolled in a Tube
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Ships rolled in a tube. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Mexico.
Shipments from Mexico may experience delays due to country's regulations for exporting valuable artworks.
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Alicia Amador Hernández was born in Mexico City, on December 9, 1964. Her works are part of collections in San Diego, New York, London, San Salvador, Bilbao and Paris. As part of her professional development, she has participated in some editorial projects like the creation in 1986 of the cultural section of the bimonthly magazine Secofi produced by the Secretary of Commerce and Industrial Development. And in 1990 she was editor of the supplement "El coleccionista" of Casas&Gente magazine. Her work refers, on the one hand, to genre painting—portraits and still lifes— as well as to the discipline of guild workshops, as a starting point whose intention is a far cry from flat conservatism and aspires to to create through painting and drawing symbolic themes that emerge, advance and culminate in a critique and questioning of the conventional social, economic, family, and traditional cultural structures. Amador's body of work, using traditional techniques such as tempera, oil and engraving, constantly rethinks her own reality to translate it into connections that go from the visceral to the convulsed and from the immediate to the permanent. The appearances, the spontaneous and the heartbreaking envision the deformations, the extreme,ß and the beauty in her compositions.
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