Artnexus Artnexus

Solo Show
Augusta Barreda

ArtNexus #52 - Arte en Colombia #98
Apr - Jun 2004

Lima, Peru
Galería Forum

Elida Roman

A recapitulation and a new phase, two instances that come together and find expression in «Naturaleza interior,¿ a recent exhibition of works by Augusta Barreda (Lima, Peru, 1954) at Galería Forum.
A recapitulation because it marks the return of the artist to her native country after more than fifteen years. During that time she lived in Venezuela, her work took visible turns that brought her first from printmaking to sculpture and, within sculpture, to a constant experimentation with materials and forms, while at the same time developing an intense labor as artistic promoter and maintaining her interest in the environment and ecology.
In ¿Naturaleza interior,¿ Barreda has achieved a synthesis of those experiences and interests, bringing them to a harmonic materialization that is not too distant from an admiring exaltation and a joyful acknowledgment of that which is alive and has generative power.
Set in groups or small installations based on elements that are similar or homogeneous, firm and proud in a verticality that underscores their independence and vital triumph, we find wood sculptures in cedar and pumajiro, to which added color gives a noticeably invented individuality that is, nevertheless, easy to assimilate to the known botanical world.
This is one of the show¿s merits: to carefully and accurately handle basic elements, of a minimalist spirit, that immediately become recognizable generic symbols despite their sparse and austere formalism. In this way, even the evident reference to genitalia, to sexuality, is at once an independent element and an indispensable clue. The interior landscape recreated by the artist is none other than an homage to fertility and to unceasing life. An exaltation proclaimed, without prejudice, by even and shining colors that create a special atmosphere where a certain joyful spirit dispels any solemnity that could be generated by the reference to the totemic and the ritualistic suggested by the shapes. The names of these ¿families¿ in Barreda¿s personal botany are also eloquent in showing her intention: ¿Pompones,¿ ¿Puyudos,¿ ¿Flores internas,¿ ¿Calas,¿ allusions to a real world that is re-created, re-invented, and, above all, animated and laid at our disposal.
The use of grouping, which accomplishes a sense of family, of genetic unions and common considerations, ties meaning and form together, achieving a display of friendly characters and establishing a good starting point for a curiosity for their pairs in ideal nature.



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