Mr. and Mrs. Cesar Segnini cordially invite you to the opening reception of
Ramírez Villamizar / Fanny Sanín
LA DISCIPLINA EN PINTURA Y ESCULTURA
DISCIPLINE IN PAINTING AND SCULPTURE
Friday May 14, 7 – 10 pm,
at Durban Segnini Gallery
DISCIPLINA EN PINTURA Y ESCULTURA / DISCIPLINE IN PAINTING AND SCULPTURE
“It is not uninteresting to see how the luxuriant nature of the American continent, its intense baroque style and its magical realism have engendered a movement as rigorous as that of concrete abstract art. The asceticism of this artistic tendency seems to contradict the eloquence characteristic of everything American which manifested itself since the florid times of the chroniclers, passing through modernism until the present day. Nevertheless, that is how it has been. In Uruguay and Argentina, where the “Madí” movement was born; in Venezuela, where cybernetics and optical art came into their own; in Brazil, mother country of concrete poetry; or in Colombia, where the abstraction represented by Eduardo RamÍrez Villamizar and Fanny Sanin, among others, has flourished” Carlos Luis
Eduardo Ramírez Villamizar (1923 – 2003). He started out as an expressionist, a trend he left behind in 1950 in Paris when discovered new geometric abstractionist trends. After going through a transition where geometry and the figurative style merged, he carried out in 1955 the first non-objective mural that was made in Colombia. In 1959, he received first prize in painting at the XII National Artists Fair with the piece Horizontal en blanco y negro, and that same year he made the mural Relieve dorado at the head office of Banco de Bogotá, a piece of large dimensions which clearly alluded to pre-Columbian designs. As a sculptor, he used wood, plexiglass and iron (painted until 1984, oxidized henceforth).
Fanny Sanín ( 1938 – ). Fanny Sanín has created a sort of counterpoint between the anticipated and the unexpected. The anticipated represents in her paintings the meticulous labor she has invested in carrying out her compositions. Fanny Sanín, then, belongs to the great tradition of abstract painters who, making reference to what Leonardo labeled ostinato rigore, chose the route of mental painting just as the legendary Leonardo himself requested. But, oddly, the great Renaissance figure also advised to discover the creative possibilities of a floor stain. The unexpected, then, follows along behind rigor. I feel that the great polyphony of colors in Fanny Sanín’s painting, whose richness may be seen in the plumage of native American birds, produces a different kind of effect: the unexpected effect of the magic that is hidden in them. In this way, Fanny Sanín does not stray from a trajectory filled with illustrious footprints. C.L. Colombian artist Fanny Sanín lives and works in New York.