Carolina Convers
September 03, 2016 - September 23, 2016
Cra. 16 #86A-31, Bogotá, Colombia

Beatriz Esguerra Art is pleased to announce an exhibition of over 15 new works by Colombian artist Carolina Convers. In "Versus," each piece presents the same two women standing side by side, moderately facing each other, yet intervened with colorful layers of acetate fragments in the form of collage. The artist places a layer of resin between each layer of collage, allowing for a level of depth to be achieved in each piece. With each coat, Convers plays with the ones settled in the resin before, using the fragments to not only create shadows, but to enhance or obscure the pieces that have been placed below.

With this latest work, Carolina Convers alludes to the confrontations we face in our daily lives: with society, our beliefs, our mere existence, and most significantly, ourselves. For herself as an artist, she is in constant dispute with herself when regarding her own work, calling it her “pictorial dilemma.” It is this pictorial dilemma that has motivated the evolution of her work, evident here as an oscillation between figuration and abstraction.

As an artist, Convers has consistently invoked the feminine figure, finding herself concerned with the construction of what is feminine in society: the archetype of the virtuous ideal, encompassed in a suppressed, ordered, obedient and submissive female. For the pieces presented in this exhibition, she has appropriated family photos from the 1950s and 1960s. Their stories are a large part of Convers’ upbringing, and she recognizes herself in these figures. Yet her artistic intervention, whilst both emotionally and psychologically charged, causes these figures to lose their identity as she proceeds to deconstruct them: editing, cutting, taking out details, all in order to put them back together again. It is through this process that Caroline Convers re-constructs the archetype of something feminine.

“Are there women? Yes, of course, and there are mannequins as well. In search of liberation, an understandable effort and historically necessary, women escaped one limiting state and entered another, one that keeps her trapped. This is shown through the sheer and somewhat open surface of an unconventional support. Described briefly, each work is a very thick tablet. Viewed directly one can see a combination of planes, but if you get closer and view the piece diagonally, you discover what is behind each acetate. Her intent is seen as much in the manner in which she seeks to create a pictorial image without resorting to the technical mediums typically used in painting, as it is in the making of the piece, the support used as an active element (read expressive), an element in itself and in essence significant.”
-excerpt “Carolina Versus What?” by Álvaro Medina


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