Dallas Art Fair 2014
April 10, 2014 - April 13, 2014
PRESENTING WORKS BY
Edgar Martins, Pedro Ruiz, Carol Young, Santiago Uribe-Holguin and Max Steven Grossman.
Featuring works mostly by Colombian artists, Beatriz Esguerra Art will bring a coherent and visually rich presentation. The works, created by mid and long career artists, comprising a mix of themes, techniques and images, include photography, ceramics, painting and mixed media. In recent years, and thanks to its renewed stability, cultural richness and environment to create outstanding artists, Colombia has become the new artistic destination for international collectors. Furthermore, ARTBO, the Colombian rising Art Fair has gained serious attention from the art world offering the country’s artists wider visibility. Beatriz Esguerra Art promises to attract the attention of the public with it’s presentation, designed especially for this fair.
For Fair hours, tickets and information, follow this link: http://dallasartfair.com
MORE ABOUT THE ARTISTS TO BE EXHIBITED
CAROL YOUNG CERAMICS AND PAPER
Carol Young, born in Uruguay, has been living and making art in Colombia since the 1980’s. Using ceramic as her primary medium, Carol’s installations and sculptures transcend standard perception of the material, creating work that is unique, challenging and beautiful. Her recent investigation explores the realms of memory, history and our conceptions of paper. Carol Young’s installations evoke these subliminal memories through dialogue with the emptiness and freshness of a blank page. Drawing on an image that may refer to an ancient library composed of paper and parchment, her work conjures up the sign-filled archive of the many individual moments of experience -- unknown and hidden information that yearns to be classified, reviewed and studied.
Carol Young has shown her work throughout Colombia and Latin America. Her work has been exhibited in museums and she has received numerous honors and prizes.
SANTIAGO URIBE-HOLGUIN’S MEMORIES OF THE SURFACE
One of the best abstract artists in Colombia, Uribe-Holguin studied in the UK and Spain. His work has been exhibited extensively nationally and internationally in galleries and fairs. The principal museums in Colombia, along with outstanding collectors count his work in their collections.
Santiago Uribe-Holguin ́s art is notably inspired by the Spanish Informalism movement, which, in turn, had a tremendous impact in Latin America. Beyond the foundation intrinsic to its initial proposal, this movement generated an interest in telluric matters, such as a deep geography, intricate landscapes closely related to the unconscious, and landscapes with closed textures reminiscent of Pompeian murals and of abstract forms that seek answers inside a sensitive geometry. Such origins, added to the free mixture of materials commonly used today, live on in the textures painted by Uribe-Holguin. They manifest themselves in abstract shapes and warm colors. In his work, texture is the protagonist. It reminds us of the earth’s skin, moist and volatile at the beginning, but then hardened into a beautiful rich surface. In this particular case, and due to a strong Spanish influence during his youth, his paintings harken back to those by Spanish artist Antoni Tàpies. The memory of surfaces, like the memory of things, life, materials and forms in space, finds in Uribe-Holguin’s work the spiritual value of daily acts; for the artist holds the belief that the course of life is a succession of modest happenings in which painting is a necessary act.Adaptation from Ana Maria Escallon’s text “The Memory of the Surface.”
PEDRO RUIZ A POETIC INTERPRETATION OF A SOCIAL TRAGEDY
Pedro Ruiz's work occupies itself with the social and political tragedy of displacement. In his paintings, Ruiz gracefully refers to the tragedy born from warfare, political instability, natural disasters and need, in a poetic and extremely moving manner. He juxtaposes strikingly harmonious and peaceful images of a man transporting a symbolic representation of his homeland in a canoe with the painful context that this image represents: that of the forced displacements in many parts of the world. Displacements grew from the artist’s perception that, through art, the collective memory of a country in conflict can grow beyond that of sorrowful memories of loss. From Displacements stems the idea that those who have had to leave their home, their land, their place of origin, always take a part of it within themselves. The image of banana trees bathed in red alludes to the violence and heartbreak suffered by those who must depart from a territory that is an essential part of their being. Whether those displaced take their land with them in its natural state, or metaphorically tainted in red, this body of works demonstrates how nature can find itself in tune with the reality of our existence.
A long list of exhibits in galleries and museums in Colombia and abroad, public and private collections, art fairs and prizes make up Pedro Ruiz’s career. In 2011 he was Knighted by the French government with the Arts and Literary Order.
MAX STEVEN GROSSMAN’S IDEAL LIBRARIES
Max-Steven Grossman creates “Bookscapes,” libraries that exist only in his photographs. The purpose of these works is to register bookshelves from various backgrounds, reorganize them through digital procedures, and create a vast archive of ideas, concepts and titles that any connoisseur of a specific field of study, should have. The relationship that each viewer develops with these libraries is completely personal and occurs exclusively in the realm of his imagination. Grossman creates a work where each individual will develop a personal dialogue with the image. This dialogue will originate from their past readings, their desire to read the unread, the admiration for the sea of knowledge contained therein, or the fear of facing the great unknown. However, what is truly important is that the viewer-image relationship is one of contemplation and awe before the impossibility of accessing all the real yet unattainable knowledge presented in these photographs. An engineer with a Master’s degree in Photography from NYU and the International Center of Photography, Grossman has exhibited his work around the world including Beatriz Esguerra Art in Bogota,Colombia, Museum of Modern Art in Cartagena, Colombia, Museum of Modern Art in Barranquilla, Colombia, Art Wynwood in Miami, Art Southampton in Long Island, NY, and ArteBA in Buenos Aires,Argentina. He has also exhibited extensively in Fairs and Foundations internationally such as Switzerland, Panama and Spain to name a few. His work was recently shown in NY at Stricoff Fine Art Gallery.
EDGAR MARTINS’ QUIET YET DISTURBING PHOTOGRAPHS
Shot largely on the same set of beaches in Portugal over a period of two years, the imagery of The Accidental Theorist is a series of moments that have become independent of causation or purpose. This landscape is familiar yet imaginary. It is full of stillness and silence yet the pervasive tranquility is paradoxically not calming but disturbing and incongruous. It is marked by the sense that things are forever unreachable. All that represents the ambience of a holiday beach is missing. We long for the signs and symptoms of life to reimpose themselves upon the social fabric of this place. Shot with an analogue, large format camera and making use of long exposures, these images are all about temporal experience. The beach is rendered as little more than a proscenium awaiting some event. Found elements underscore an ambiguity in these images between the composed and the contingent. (Text taken from www.edgarmartins.com)
Born in Évora, Portugal, Martins grew up in Macau. He completed an MA in Photography and Fine Art at the Royal College of Art (London). His work is represented internationally in high-profile collections including V&A (UK), the National Media Museum (UK) and the Dallas Museum of Art (USA), to name a few. Martins represented Macau at the 54th Venice Biennale. Awards include the New York Photography Award, the BES Photo Prize, the SONY World Photography Award, International Photography Award, and a nomination to the Prix Pictet.
ABOUT BEATRIZ ESGUERRA ART
Since opening in 2000, Beatriz Esguerra Art has worked tirelessly to promote selected Colombian artists, in Latin America and beyond. The gallery believes in creating a dialogue between Colombian and international artists through carefully curated projects and exhibitions on a variety of universal themes. Recent efforts emphasizing more outreach, and including greater art fair participation in the US, have brought the gallery renewed attention from the art press, collectors and institutions. Furthermore, Beatriz Esguerra Art believes in educating its public and therefore offers open weekly lectures on modern and contemporary art.
With an academic training in art history and more than 25 years experience as a curator, consultant and gallery owner, Beatriz Esguerra has always abided by her mission: to enrich lives through art, with integrity and professionalism.