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"Solidaridad VI" by Basoa (Detail)
Marta Basoa was born in
Montevideo, Uruguay. From 1989 to date she has worked at painter
Dumas Oroño Workshop. In 1996 she joins the
National School of Fine Arts (Escuela Nacional de Bellas Artes,
Universidad de la República) where she studies Photography, and
Painting at Professor Anhelo Hernandez Aesthetic Pedagogical
Workshop. In 2001 she makes a study trip to Spain and
France.
National Collective Exhibitions
In Montevideo: Ministerio de Relaciones
Exteriores, Palacio Santos (Ministry of Foreign Affairs), ,
Escuela Nacional de Bellas Artes Sala Miguel Ángel Pareja
(National School of Fine Arts), Alianza Francesa,
Ciudad de San Felipe y Santiago High School ,Casa Félix Aurea
(Felix Aurea House), Moving exhibition over different cities in
Uruguay.
International Collective Exhibitions
Uruguayan Foundation for the Arts and Culture,
Uruguayan Embassy in the USA, Washington D.C.
Permanent Exhibition
Uruguayan Foundation for the Arts and Culture;
Uruguayan Embassy in the USA, Washington D.C.; National School
of Fine Arts, Imaginario Sur Gallery,
Her work can be found in private collections in
Uruguay, Brazil, USA, Spain and Italy.
The aesthetic proposal that Marta Basoa sets up
in this new exhibition - no longer dependent of her beloved
teachers: Dumas Oroño, Anhelo Hernandez and the National School
of Fine Arts- is a universe filled with a big silence where the
human being as such, acquires the "Pathos" of the daily life.
This thoughtful look frees us from fake and great heroisms, from
borrowed solutions and from spectacular urgencies, taking us
back to the warmth of human communication, with no other
intention than to show affection to life. This reflection is
sustained by an accurate creation of which color, texture and
transparence invite us to a two-way contemplation: from the
painting to ourselves, -and not only ourselves but the
individual - and whose values, such as "excellence" and
"success" are replaced by depth and seriousness.
By Carlos Musso
While
I was preparing a retrospective exhibition of Dumas Oroño I saw
by chance at his workshop a small piece of art that drew my
attention. It was one of Marta Basoa's works. Marta had been
part of this workshop for fifteen years... Besides, I learnt
that her vocation for painting had been a postponed juvenile
impulse. I also learnt that later, she had not only accepted the
guidance of a
"difficult" teacher, as Oroño is, but she had
decided, in 1996, to study for a degree of Photography and
Painting at the School of Fine Arts.
That work I saw at Oroño's workshop is part of a
recent series of "loneliness" in which she feels personally
involved with it. It is about successive looks upon individuals
and groups, evanescent
shapes on certain areas achieved by the subtle
use of collage and transparences. She detaches from her previous
artistic exercises and starts to attain her own profile.
By Olga Larnaudie
E-mail:
martabasoa@adinet.com.uy |
"Cuarteto" by Langona (Detail)
Martha Langona was born in
Montevideo, Uruguay. During the sixties she studies at the
Faculty of Architecture (Universidad de la República), the
National School of Fine Arts (Escuela Nacional de Bellas Artes),
and the School of Applied Arts (Escuela de Artes Aplicadas). In
1975 she joins Dumas Oroño Workshop, and in 1978 she attends
Jose Collel Pottery Workshop. She makes Art teaching training
courses, attends seminars and workshops on Education through
Art.
She travels with the first group
of Architecture students who went round the world. She has
recently made a study trip to Spain. She runs a Plastic Art
Workshop for 15 years and gives courses to school
teachers.
National Exhibitions (1982-2004)
Montevideo: Ministerio de Relaciones Exteriores
(Palacio Santos - Sala Figari) (Ministry of Foreign Affairs):
Ministerio de Educación y Cultura (Sala Vaz Ferreira)(Ministry
of Education and Culture); Espacio Cultural Museo Castillo
Pittamiglio (Pittamiglio Castle Museum): Asociación Cristiana de
Jóvenes (Youth Christian Assosiation); Galeria el Galpón ( El
Galpón Gallery): Galeria Felix Aurea (Félix Aurea Gallery); Casa
de la Cultura Uruguay - Cuba Culture House Uruguay-Cuba); COFAC:
Círculo de Tenis (Tennis Club); Centro de Artistas Plásticos,
AEBU.(Centre of Plastic Artists).
Other cities in Uruguay: Teatro Macció (San José)
(Macció Theater, San José):
Bastión del Carmen (Colonia del Sacramento), La
Paloma Cultural Corner (Rocha), Cultural Centre (Libertad),
Argentino Hotel (Piriápolis), Cuartel de Dragones
Museum (Maldonado),
Permanent Exhibition: Galeria "De la Matriz" ("De
la Matriz" Gallery)/Galería MVD (MVD Gallery)/Art dealer
Maria C. De Grimberg/Art dealer Enrique
Gomez/Lucas Equipamientos/Imaginario Sur
International Exhibitions
SPAIN: Madrid/Zaragoza/Pontevedra.
Uruguayan Foundation For the Arts and Culture
(Washington D.C., USA)
Permanent Exhibition:: Art dealer Enrique G6mez
(Madrid, SPAIN)
Uruguayan Foundation For the Arts and Culture
(Washington D.C., USA)
Her work can be Found in private collections in
Uruguay, Brazil, Venezuela and several European cities.
She is chosen for the 49'h NATIONAL EXHIBITION OF
VISUAL ARTS and the 3'" BIENNIAL EXHIBITION OF THE HANDMADE
OBJECT
She has been awarded a mention in a P9ster
Constest organized by the Uruguayan Medical Union (Sindicato
Médico del Uruguay)
Martha Langona's work is versatile and complex.
As a painter, sculptress, ceramist and designer, she shows in
each discipline multiple aspects interlinked by "ties", the
complicated ways people relate to each other, people immersed in
societies where capitalism leaves its impression, though some of
them are out of it.
In the present exhibition paintings of two
different subjects are shown: one which glosses topics and
metaphors related to music, expressed in limpid pieces of work
that seem to explode from the middle of the canvas, evoking an
outlined synthetic naturalism where musical instruments obey the
dictations of composition. The other one concerns men and women
departing from and arriving at archetypical harbors.
However, these harbors do not stick to a real
model but are thought as dreamy seaports. The human forms on
these paintings are just outlined, allowing the onlooker to
recognize them as people. The chromatic range of colors arises
from the artist's emotive stimuli, which
she endeavors to communicate to the spectator
(she plays with the cold and warm range of colors to express
feelings at different moments).
Her work on ceramics is personal and simple. She
deals with the material in an outstanding way: she leaves it in
its original ochre, draws on different planes, and "carves"
other areas. By doing so, she expresses a different look in
which she leaves what is figurative behind, and turns the real
images into signs on the wooden base, suggesting expressive
strength and a calm appearance.
Finally, her drawings are a kind of "writing" in
which the artist represents the noise made by the human world in
its most merciful aspects: protection, reunion, and hospitality,
revealed by big
heads sheltering tiny little heads.
Made with carbon sticks, her drawings show a
singular attribute: they seem untouched by the artist's hand.
This exhibition should be considered just as an
introduction to a complete world that needs several roads to be
expressed, always keeping secret coherencies, the unity that
makes variety possible.
Uniqueness among multiplicity.
By Roberto de Espada
(International Association of Art Critics)
April, 2004.
E-mail:
hreylan@adinet.com.uy |
"Borges"
by Sazbón (Detail)
Patricia Sazbón
was born in
Montevideo, Uruguay in 1976. In 1997 she starts her career at
the National School of Fine Arts (Escuela Nacional de Bellas
Artes, Universidad de la República) where she finishes the basic
courses and obtains a Painting degree in a course run by teacher
Anhelo
Hernandez. At the same time, she studies with
painter Clever Lara. She attends Pedro Figari Technical School
where she specializes in the field of drawing and painting. She
also attends the Art Biennial Exhibition in San Pablo, Brazil.
She receives special education in Latin American Art (National
School
of Fine Arts and Frida Art). She develops
pedagogical work in several public and private primary schools
in Montevideo.
She works at the National School of Fine Arts.
She teaches painting and drawing at her own studio.
National Collective
Exhibitions
From 1997 to date: at Montevideo City Hall Main
Lounge, Castillo Pittamiglio (Pittamiglio Castle Museum),
several restaurants in Montevideo and other cities in Uruguay,
show rooms, cyber cafes, etc.
International Collective
Exhibitions
Uruguayan Foundation for the Arts and Culture,
Uruguayan Embassy in USA, Washington D.C.
Private Collection
Her work can be found in private collections in
Australia, Spain, France
and the USA.
International Collective
Exhibitions
Patricia Sazbón is a
young painter. In the early stages of her career, in order to be
loyal to her former teachers, she joined those who, with an
obsolete view, produce works in which they mess up naturalism of
illustrious memory, that one in which the passion for
truthfulness surpasses the relative veracity of appearances.
They unsuccessfully replace their lack of passion for the truth
by this unreal atmosphere they create, an atmosphere that
results from smoothing over the anguished risks of creation and
from suppressing its enlightenments and discoveries.
Actually, they try to exchange the risks of
creating for a self- styled "art expertise". Maybe they do so
with vain hopes to resist the strong impact of the new art
styles that appeared after the death of art, or hopefully
expecting to survive thanks to flattering traders who have
always sluggishly moved toward their own interests, which are
certainly not related to art.
Fortunately, Patricia has not taken long to
realize this, and has started to break her links with these
hindrances, and their potential legacy. Having not refused
figuration, but showing now evidence of the fragmentary way in
which the world is perceived by man, the painter evokes the
facts of which
the perception of the objects is composed.
She focuses the attention on the fragments, like
pieces of splintered mirrors, and offers their versions
of the most elusive illusions: the influence of
the nature of light upon them, the effect of chiaroscuro,
the texture, etc. She inscribes these fragments
in structures, which seem to arrange them, almost orthogonal
structures, characteristic of the world of the ideas, not of
that one which explains reality.
They system she employs distantly reminds us of
Torres Garcia's, the master of constructive universalism
who represented the universe through symbols and
signs. However, she does not try to reach that level of
abstraction. It is enough for her to evoke what is immediately
perceived.
By painting fragments, she gives us the
possibility to dream about the images as a whole, images that
belong both to her and to us. In this promising second step of
her evolution, the young painter grants us the right to claim
that these works do also belong to us...
By
Anhelo Hernández
E-mail:
pasaz@adinet.com.uy |
