"Comfort for the "Asleep Awareness"(2001), (Installation performance)
I made this artwork using the hair of many of my friends and neighbors,
First I cut my own hair, then I went to a couple of beauty salons and asked the people to cooperate giving their hair for my installation, collecting the hair was hard but I enjoyed the process,
Series: "Momentum"
Acrylic on canvas
36"x36"
"My artwork is an integration of lines, textures, and shapes to explore human sexuality based in my own experience living in this world and confrontig the heavier questions of life in to my paintings"
take From Agora gallery, New YorK, NY
Lilian Fdez vivid abstract expressionism reveals a deep concern with both somber weightiness and an irrepressible urge toward flight. Her paintings repeatedly explore the fluidity of boundaries, and the degrees of coherence between form and background. Coal-gray tones are balanced by flame-like detailing, with a tension created between the fullness of the dark colors with the striving of the lighter colors. Her repeated exploration of a central spiral shape placed against an opposing color reveals the pathos in her works, the obsession at the heart of being human.
Lila values the repeated exploration of the same emotional and psychological territory, the same narrative which is implied in her works. She makes use of the possibilities in her art form to explore themes of personal vulnerability, intuition and the challenges of craft. Both a source of frenetic energy as well as personal centeredness, Lila Fernan's work frequently reveals a mind deeply in touch with the human state of ambivalence.
(OPP)- Programing Oriented to Objects, was a ciclycal exhibition an interactive cycle open to the public
2 comments:
This unusual family portrait, in which parents and children gather trough an intimate display of their expressive potentials in visual arts, demands the search of an individual stamp within the convergence of ontogeny features that shore up their origin in a core foundation. Roses of the mother- Idolidia Ramos-, can be understood as a starting point from which daughter and son depart in opposite directions- Lilian and Rafael Fernández- The first invents herself in a world inhabited by beings in need of embrace, while the later prefers informal abstraction, without forcing the gesture too much, assuring maybe, implicit connotations in chromatic associations coming from the African-Cuban gods graveyard. This can be assumed, beyond the real intentions of the author, as a symbolic load of attributes in assistance of the absence of the pre-established iconography. On the other hand, the contrasts of the red-green palette, for example, are softened by the stamp of rapid execution, in which we can see a minimum level of intervention on the work of art or the respect of the original impulse as an emotive liberation, or punctual discharge of a determined state of mind.
In Rafael and his mother the presence of a motive is noticeable, flowers and freedom of the hand that prefigures it to maintain a spontaneous line made with a thick paintbrush-brushstroke which drags matter to where they want it- that concludes at the spot that represents their sensations: but we cannot oversee this communion, a communion of feelings in search of a conscience that is bearer of a very personal identity stamp and at the same time as a type of workshop established at home.
The presence of one part of the sculpture works of Ramos Fernández Vicente- the father- in this gallery, after 31 years of his disappearance, adds to this exposition a definite interest. Even though these are different expressive means (painting – sculpture) a deep affiliation between them is found induced by the fact that they are re-encountered in the same space dedicated to art. I find shameless to investigate on the repercussion that the sculptures of Ramon had on the time they where created, he obtained prizes and that is an indicator of acceptance or total irreverence. If we stop and review the Cuban sculpture in that period we find ourselves in front of a particular case that preferred the violence of the material instead of its submission, the emptiness instead of passiveness, the internal to the external, features that in some way are present in the artworks of his children when imposing their emotions to a logic and vital structure.
There is a preference for this unfinished aspect, unpolished direct cement, barely without patina, that intensifies the interest for a different expressionist aesthetics, with a respectful balance of the proportions and a classic sense in which the vehemence of matter acts as a magnifier chiaroscuro, of his rationality. The passing of wood to cement-iron, to the recycling of metallic elements, proposes in the short trajectory of the artist the interest for the figure and the distance of the same in accordance with his experimentation with negative and positive environments, the concavity and convexity as pairs still unresolved due to modern practice directed to morphological provocation that disturbs the fluctuation of the fullness and emptiness of the space to do as Ramon did, from a womb a hole, the hole form and the form air.
from Roberto Avalos
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