ARTEVEN.COM Contemporary Art | ANA THIEL - Sculpture, Object d'Art, Installation / Mexico |
 |
| [ESPAÑOL] | |||||
| |||||
| click on images to enlarge | |||||
| TRAJECTORY | |||||
| 1958 Mexico City. | |||||
| INDIVIDUAL SHOWS (selected) 2006
2006
2006
Alexandrina Library. Alexandria, Egypt. | |||||
 | |||||
| Reading corner, 2001 | |||||
| TEXTS | |||||
| 1. | |||||
| ELEMENTAL PATHS | |||||
| By Francisco Vidargas* | |||||
| Ana Thiel journeys through Elemental Paths, in full command of the vision and the feeling touch of sculpture, towards another still almost unveiled world: printing. In her new and parallel creative impetus, the artist uses etching and collage as a dossier that suggests and implies space through incisions, plays with light, color and burns, shadows, veils and forms, transforming paper into a corporeal object, and inciting the spectator to touch -how could it be otherwise in her art- what is viewed. An artist with a passion to discover and reveal to us her visual perception right from its inception, she opens to us an unbetterable amount of horizons through her extensive and always rigorous work. Her sculptures and paper works, very personal versions of reality, could well form part of that imaginary museum mentioned by André Malraux . Ana makes use of the materials -as Juan García Ponce would say- in accordance with her instinct or “artist’s nature”. This is why, through the chromatic processes, color spots, collography and burnt reliefs, as well as mixed techniques on paper, she gives form to her compositions, obtaining rich effects in relief and depth. This is how her recent works (sculptures made into etchings) are reduced to their primal condition of visual objects: reduction of petreous elements, transformed into the essential in graphic art. Whoever observes retrospectively the last eleven years of Ana Thiel’s artistic work will be amazed by the vitality with which she penetrates and undertakes the multiplicity of available options, demonstrating thus her constantly diverse and thought- provoking creativity. Constantly paying attention to art in other latitudes, specially Europe and the USA, even working as artist in residence in various scenarios (Egypt, Spain, France and Japan), she keeps herself away from the pseudo-artistic forms that keep much of the glass art in a stagnant state. Au contraire, with the new proposals that she presents with objectivity and decision, she always stands out in the artistic world around her. Elemental Paths, a vital revolution in the artistic work of Ana Thiel, is formed by a group of works that make visible to everyone the result of a new migration of forms that spring forth from their regular elements to feel -paraphrasing José Lezama Lima- “strangely happy in unknown regions”. *Francisco Vidargas is director of the Fine Arts Institute in San Miguel de Allende, Mexico, where the exhibition Elemtal Paths took place. | |||||
| 2. | |||||
| By Guillermo Samperio | |||||
Ana Thiel has chosen the dominion of the abstract adventure in a search for a language that could allude to recognizable sensations not just by means of the reasonable. Thus, her proposal would seem to indicate that we are confronted by an investigation of intimate sensations that unveil the bearings of the inner worlds that commonly are hidden to our senses. We can thus venture, by instants, that the artist has the attitude of sharing her discoveries; she then makes them transparent, turns off the darkness with light appearing in its different veilings, offering calibers, magnitudes, densities. In that engagement one can sense that Ana has detained a scene of the interiorities, a piece of the expansion of being in her solitude, her detachment, in her concentrated passage; the movement has come to a standstill, as prisoner, allowing the vision of the quality of the trajectories of the dynamic; sometimes they are slow, parsimonious, gentle, and at times swift, agile, surprising. One must not forget that we are in a space of an imaginative proposal where chance and supposition are primordial to affect the imaginary forms that inhabit us; this happy fusion can take us to perceive macro or micro worlds, that existed, towards where we are heading, or that are happenig while we are distracted by the world of the concrete objects, numerical, opaque and lacking in strong expression. Ana Thiel makes us betray, if briefly, this habit filled world. | |||||
| 3. | |||||
| By Santiago Espinosa de los Monteros | |||||
Ana Thiel works at the same time with glass and the world, with matter and nothingness. This is the closest to that marvelous image that Borges created in his story El Aleph which “is one of the points in space that contains all points”. Everything happens there; what was and will be all flows into one place, where time finds itself -the serpent that bites its tail- and stops its eternal advance in unison. This is the paradox of the universe which to our eyes is something far away and static, but through our inner feeling, it is our own and changing. Reserve and shyness do not exist in her sculptures. They present themselves as they are with all their gut force. One would have to imagine oneself for an instant in their place and think of our body as a transparent object in which all of our fears as well as our memories, our words, our viscera and those of our ancestors, who live a little wihin us, are visible. One would have to think, just for a moment, of being exposed, without defense or protection, naked towards a world that does not accept anything without a shell, without cover, without skin. |
