ANA MARIA NAVA
"Each one of Ana Maria´s sculptures, is a galaxy to be explored. Each color hue or bubble contained within the weightlessness of glass, suggests infinite possibilities of contemplation and reflection. Bubbles are stones of a road, imaginary paths to her tranquility, to herself, and is her color, the impetuous volcano that drives and submerges us into the original fire."
ILICH RODRIGUEZ CORONEL
CURAtOR/ ART CRITIC
NEBULA. FUSED BULLSEYE GLASS INSTALLATION. 2016. PICTURED HERE AT THE LIA BERMUDEZ ART CENTER IN MARACAIBO, VENEZUELA.
MARIPOSAS TERTULIANAS. TRIBUTE TO THE " BUTTERFLY CHAIR " 2015. FUSED BULLSEYE GLASS HANGING INSTALATION.
CAST BULLSEYE GLASS TEXTILES. 2014
FLOATING COLOR SPLASHES SERIES. " 157 PUNTOS" FUSED BULLSEYE GLASS WALL INSTALLATION STEEL PINS. 2017 PIECE FOR THE FIRE ART SBIENNIAL 2017/18 . TRIBUTE TO THE 157 PERSONS THAT DIED DURING THE PROTESTS IN VENEZUELA IN 2017.
AGUAZUL. FUSED BULLSEYE GLASS , STEEL. 2016. PRIVATE COLLECTION. DELRAY BEACH, FLORIDA.
FLOATING SHADOWS, VARIOUS INSTALLATIONS.
"TIEMPO CIRCULAR" , PIECE FOR THE FIRE ARTS BIENNIAL 2017/2018. TRIBUTE TO THE 157 PERSONS THAT LOST THEIR LIVES DURING THE PROTESTS IN VENEZUELA IN 2017.
SPHERES .2017. HANGING FUSED BULLSEYE GLASS AND STEEL INSTALLATION . DIAMETERS: 65 , 50, 40 CM
,
CAUCES PARALELOS. CAST BULLSEYE GLASS, COLDWORKING, STEEL. APROX DIM : 2 m x 2 m x 6 cm. 2014. CLUB NAUTICO DE MARACAIBO. VENEZUELA
CAUCES VERTICALES. INSTALACION DE CASTING DE VIDRIO BULLSEYE. COLECCION PRIVADA. MARACAIBO. VENEZUELA.
MAR DE MEDUSAS. FUSED BULLSEYE GLASS HANGING INSTALLATION. TRIDENTE RESTAURANT, PLATINUM CLUB. MARACAIBO, VENEZUELA. 2014.
MONOLITOS LINEALES. 2016 INDIVIDUAL SCULPTURES. VARIABLE SIZES. BULLSEYE GLASS CASTINGS, COLDWORKING., POLISHED ALUMINUM.
OTHER GLASS MONOLITES. VARIOUS YEARS.
CORRIENTES, CAST BULLSEYE GLASS, COLDWORKING. STEEL , WOOD. VARIABLE DIM. 2011.
DESPLAZAMIENTOS CROMATICOS. SMALL FORMAT SCULPTURES. 2013.
PURPURADA. CAST DE BULLSEYE GLASS, COLDWORKING. 2010.
VERADA, DETAIL. CAST BULLSEYE GLASS, COLDWORKING. 2010.
ZEBRADA, CAST BULLSEYE GLASS. 2010
TORRE Y MURALLA, CAST BULLSEYE GLASS . 2013.
ARCHIPIELAGO. CAST BULLSEYE GLASS, COLDWORKIND, PAINTED STEEL. 35 X 120 X 15 CM 2013.
ESTRUCTURAS ORGANICAS ARRECIFE CAST BULLSEYE GLASS WALL INSTALLATION. ACRYLIC BARS. 2011.
EVER SINCE I HAVE BEEN MAKING ART , I HAVE HAD SEVERAL INVESTIGATIONS GOING ON. I CONTINUE TO EXPLORE ALL OF THEM , SOME TIMES SIMULTANEOUSLY, OR ONE OR TWO AT A TIME. I EXPLORE COLORS, THE WAY THEY RELATE TO EACH OTHER, I EXPLORE MOVEMENT AND FLOW, THE LIQUID CHARACTERISTICS OF GLASS. I EXPLORE TEXTILES AND HOW I CAN TRANSLATE IT’S QUALITIES TO GLASS . I EXPLORE LIGHT. COLOR SPLASHES ARE OUR FIRST ATTEMPTS TO EXPRESS OURSELVES; THEY ARE PART OF OUR EARLIEST MEMORIES AND EXPLORATIONS. I HAVE GONE BACK TO THAT EXPERIMENTATION. FIRST IN THE GLASS TEXTILES AND NOW IN A LARGER SCALE IN THE FLOATING WALL INSTALLATIONS. THE COLOR SPLASHES GREW IN SIZE, BECAME HOLLOW SOMETIMES, BEGAN TO GROW APENDIXES, STARTED MOVING ALONG WALLS AND CEILINGS. THEY ACQUIRED A LIFE OF THEIR OWN. MOVEMENT GIVES CADENCE TO THIS GROWING COLONIES FORMED BY ORGANIC ELEMENTS THAT DUPLICATE THEMSELVES ON THE BARE WALL. THE SHADOWS THEY CAST BECOME COLOURED GHOSTS DANCING UNDER THE SPLASH. THE EXPLORATION CONTINUES. AMN
LINKED ELEMENTS ARE PRESENT ALL AROUND US, IN NATURE , IN OUR OWN BODIES , IN MAN MADE ENVIRONMENTS, ACROSS THE UNIVERSE.. ANA MARIA NAVA HAS BEEN INVESTIGATING LINKED STRUCTURES AND WEFTS, SINCE 1999 USING FUSED GLASS AS AN ELEMENT THAT WOVEN IN A CERTAIN WAY FORMS ENTIRE UNIVERSES OF COLOR AND LIGHT. EACH ELEMENT HAS IT'S OWN "DNA" , IT'S INDIVIDUALITY , YET THEY FORM A WHOLE THAT BELONGS TOGHETER. HER PIECES BECOME DELICATE YET STRONG GLASS TEXTILES THAT FLOAT IN SPACE.
ANA MARIA IS AN ARCHITECT ( LA UNIVERSIDAD DEL ZULIA , MARACAIBO, VENEZUELA,1989) AND GLASS ARTIST. SHE ATTENDED PILCHUCK GLASS SCHOOL IN 2004 , A GLASS SCHOOL FOUNDED BY DALE CHIHULY IN 1971. SHE HAS TAKEN KILNGLASS WORKSHOPS WITH NARCISSUS QUAGLIATA , RICHARD PARRISH AND TWICE WITH SILVIA LEVENSON . SHE HAS PARTICIPATED IN MANY CURATED SHOWS IN AMERICA AND EUROPE. ANA MARIA HAS BEEN AWARDED FOUR TIMES AT THE NATIONAL FIRE ARTS SHOW IN VENEZUELA, A JURIED SHOW THAT DATES FROM 1971, NOW IS BIENNIAL. HER INVESTIGATION IN WOVEN GLASS PIECES IS ALWAYS EVOLVING . ANA MARIA IS ITAKEN BY THE NATURE OF GLASS , ABOUT HER MESHES SHE SAYS: " I AM INTRIGUED WITH THE IDEA OF MAKING GLASS TEXTILES WITH A MATERIAL THAT IS SUPPOSED TO BE FRAGILE, DELICATE, RIGID. GLASS, WHEN TRANSFORMED INTO A MESH BECOMES STRONG AND FLEXIBLE AT THE SAME TIME. THIS CONTRADICTION IS VERY APPEALING . TAKING OVER SPACE WITH THE MESHES IN DIFFERENT WAYS IS PART OF MY RESEARCH ALONG WITH PLAYING WITH LIGHT AND COLOR . WHEN LIGHT PASSES THROUGH GLASS IT HITS THE SURROUNDINGS COLONIZING THEM, THE DIFFERENT SHAPES THAT TAKE THE WEAVINGS WHEN DISPLAYED IN ONE WAY OR ANOTHER IS AN ASPECT OF THE INVESTIGATION: VERSATILITY , FLEXIBILITY AND VOLUME . THE AESTHETIC AND SPATIAL POSSIBILITIES ARE ENDLESS. INTENSE COLOR AND LIGHT HAVE ALWAYS BEEN PART OF EVERYDAY LIFE. I AM DRAWN TO EXPLORE THEM. IN OTHER PIECES, THE LIQUID STRUCTURES, I LOOK FOR FLUIDITY, THE MOVEMENT OF WATER, THE TRACE THAT IT
LEAVES ON IT'S WAY. IT REMAINS FROZEN WITHIN THE GLASS VOLUME, APPEARING TO KEEP ON MOVING. I GET ANOTHER CONTRADICTION: STATIC MOVEMENT.. MY CHILHOOD WAS SURROUNDED BY WATER, BY A LAKE. THIS EXPERIENCE HAS LEFT A DEEP MARK IN ME. I FIND MYSELF REPRODUCING WATER, CURRENTS, DUNES... ORGANIC STRUCTURES ARE ALSO PART OF MY INVESTIGATION, IN A WAY THEY ARE AN EVOLUTION OF THE MESH WHERE THE STATIC MOVEMENT APPEARS AGAIN. I OFTEN FIND MYSELF THINKING : WHAT IF?" FOR ANA MARIA, GLASS , BEYOND IT'S QUALITIES HAS BECOME A MEDIUM TO EXPERIMENT IN VERY CONTEMPORARY PIECES.
ANA MARIA NAVA ARCHITECT AND GLASS ARTIST BORN IN 1962 IN MARACAIBO, VENEZUELA. ANA MARIA FINISHED HER STUDIES AT THE SCHOOL OF ARCHITECTURE AT THE ZULIA UNIVERSITY , LUZ, IN 1989. . IN 1995 BEGINS WORKING WITH GLASS, AT FIRST WITH STAINED GLASS, TECHNIQUE THAT SHE LEARNS FROM GLASS ARTTIST AND RENOWNED CERAMIST/ SCULPTOR MARY BELLORIN. IN 2002, ANA MARIA INCORPORATES FUSED GLASS TO HER BODY OF WORK . DURING THE SUMMER OF 2004 SHE ATTENDS PILCHUCK GLASS SCHOOL, A SCHOOL FOUNDED BY DALE CHIHULY IN 1971 CLOSE TO SEATLLE, WASHINGTON. THERE SHE STUDIES GLASS CASTING WITH ARTISTS SUSAN BALSHOR (+) AND CAROL MILNE. . IN 2005 TAKES A CASTING CLASS AT THE MIAMI UNIVERSITY WITH THE BULLSEYE ON THE ROAD PROGRAM . EVERY TWO YEARS SINCE 2007 ATTENDS BECONS, A SERIES OF CONFERENCES AND EDUCATIONAL EVENTS THAT TAKES
PLACE IN PORTLAND, OREGON ORGANIZED BULLSEYE GLASS. IN 2011 ANA MARIA STUDIES UNDER ARTIST AND ARCHITECT RICHARD PARRISH IN PORTLAND ABOUT INTEGRATING GLASS ART TO ARCHITECTURE AND MAN MADE ENVIRONMENTS. IN 2012 ANA MARIA GOES TO RENOWNED GLASS ARTIST SILVIA LEVENSON'S ATELIER IN LESA, ITALY TO STUDY GLASS CASTING. IN 2013 AGAIN IN PORTLAND STUDIES UNDER THE GREAT GLASS ARTIST NARCISSUS QUAGLIATA NEW TECHNIQUES ABOUT GLASS AND IT'S FLUIDITY. IN 2017 AGAIN WITH SILVIA LEVENSON IN PORTLAND, OREGON , ANA MARIA LEARNS NEW TECHNIQUES ABOUT INCORPORATING PHOTOGRAPHIC AND GRAPHIC IMAGES TO GLASS CASTINGS . PUBLIC WORK • 2015. MAR DE MEDUSAS. HANGING
INSTALLATION. TRIDENTE RESTAURANT. PLATINUM CLUB . MARACAIBO, VENEZUELA.
• 2014. CAUCES PARALELOS. WALL INSTALLATION AT THE MARACAIBO NAUTICAL CLUB.
• 2008. PIECES AT THE MANHATTAN LOUNGE, MI TERNERITA NORTE RESTAURANT, MARACAIBO , VENEZUELA.
• 2005. POLICHROMATIC GLASS TEXTILE. AL DENTE RESTAURANT . MARACAIBO, VENEZUELA.
• 2004. POLICHROMATIC TAPESTRY. STAY HOTEL NY LOBBY . MANHATTAN, NEW YORK, USA.
• 2004. POLICHROMATIC TAPESTRY AND WALL SCULPTURES. TAMARIJN HOTEL LOBBY, DIVI RESORT VILLAGE , ARUBA.
• 2004. FRONT DOOR , FUENMAYOR RESIDENCE . MARACAIBO, VENEZUELA.
• 2003. ABACO, PARTITION SCULPTURE. LIA BERMUDEZ ART CENTER CAFE, MARACAIBO, VENEZUELA.
• 1998. WINDOWS AND DOORS . OUR LADY OF THE ROSARY CHURCH. MARACAIBO, VENEZUELA.
INDIVIDUAL SHOWS
• 2013 ABSTRACCION ORGANICA,
ABSTRACCION GEOMETRICA. 700 ARTE Y ANTIGÜEDADES GALLERY, MARACAIBO, VENEZUELA.
• 2012. ESTRUCTURAS LINEALES, LIQUIDAS, FOSILES. 700 ARTE Y ANTIGÜEDADES GALLERY, MARACAIBO, VENEZUELA.
• 2004. GESTOS ORGANICOS. ART NOUVEAU GALLERY, MARACAIBO, VENEZUELA.
• 2003. INTO COLOUR, INTO LIGHT. VENEZUELAN CONSULATE . NEW YORK, NY, ESTADOS UNIDOS.
• 2002. LUMICROMIAS. BELLAS ARTES ART CENTER, MARACAIBO, VENEZUELA.
BIENNIALS AND JURIED SHOWS • • 2015 FIRE ARTS BIENNIAL. BRAULIO SALAZAR
GALLERY. CARABOBO UNIVERSITY. VALENCIA, VENEZUELA.
• 2013FIRE ARTS BIENNIAL. BRAULIO SALAZAR GALLERY. CARABOBO UNIVERSITY, VALENCIA, VENEZUELA.
• 2012. WARM GLASS PRIZE UK. VIRTUAL GLASS SHOW. UNITED KINGDOM.
• 2005-2008 AND 2010-2011. NATIONAL FIRE ARTS SHOW. BRAULIO SALAZAR, GALLERY, CARABOBO UNIVERSITY. VALENCIA, VENEZUELA.
• 2009. MARACAIBO BIENNIAL. LIA BERMUDEZ ART CENTER. MARACAIBO, VENEZUELA.
• 2003 Y 2009. BLANCO Y NEGRO. BELLAS ARTES ART CENTER . MARACAIBO, VENEZUELA.
COLECTIVE ANNUAL SHOWS • 2002-2013. SER ESCULTOR. 700 ARTE Y
ANTIGÜEDADES GALLERY. MARACAIBO, VENEZUELA.
• MUJER EN EL ARTE. 700 ARTE Y ANTIGÜEDADES GALLERY, MARACAIBO. 2002-2013.
• 2003 Y 2009. BLANCO Y NEGRO. BELLAS ARTES ART CENTER. MARACAIBO, VENEZUELA.
• 2004. EL AJEDREZ EN EL ARTE. BELLAS ARTES ART CENTER, MARACAIBO, VENEZUELA
MOST RELEVANT COLECTIVE SHOWS • 2016/2017 PERMANENT COLECTIVE AT ART
CENTER HORES/ MODUS 8 GALLERY. BELGICA. • 2016. VISIONES CONTEMPORANEAS. LIA
BERMUDEZ ART CENTER. MARACAIBO, VENEZUELA. CURATOE MARTIN SANCHEZ.
• 2015. FUSION EN 3. CEVAZ. MARACAIBO, VENEZUELA. CURATOR JIMMY YANEZ.
• 2014. 1ER SALON NAUTICO DE ARTES PLASTICAS. MARACAIBO. NAUTICAL CLUB.
• 2013. 40 AÑOS 40 NUESTROS. EXPOSICION ANIVERSARIA. CEVAZ, VENEZUELAN AMERICAN CENTER. MARACAIBO, VENEZUELA.
• 2012. EL ARTE AL RESCATE. TORRE BOD CORPBANCA. CARACAS, VENEZUELA.
• 2012. LIBRO DE ARTISTA. BELLAS ARTES ART CENTER, MARACAIBO.
• 2012. ARTE Y VIDA, 60 YEARS OF BELLAS ARTES ART CENTER, MARACAIBO.
• 2011. XX MUJER. DANIEL SUAREZ ART CENTER. CARACAS, VENEZUELA.
• 2012. TENDENCIAS CONVERGENTES. DANIEL SUAREZ ART CENTER. CARACAS, VENEZUELA.
• 2012. ARTE EN BLOQUES. MARACAIBO NAUTICAL CLUB. MARACAIBO, VENEZUELA.
• 2006. EXPRESIONES, VISIONES Y EMOCIONES DE LOS ARTISTAS VENEZOLANOS. SANTILLANA FOUNDATION, BOGOTA, COLOMBIA.
• 2005. LATINO ART. CASA DI LOBO GALLERY, PURMEREND, HOLANDA.
• 2004. BEYOND LIGHT, FORM AND COLOR. PIAG MUSEUM. .CORAL GABLES, FLORIDA.
• 2004. EL VIDRIO COMO ACCESORIO. SIMON BOLIVAR UNIVERSITY. CARACAS, VENEZUELA. CURATOR ALBERTO ASPRINO.
ART FAIRS • 2017. THE NEW RED DOT MIAMI. CONTEMPORARY
ART PROJECTS. • 2017. ART NOCTURNE. KNOCKE, BELGICA. ART
CENTER HORES. • 2017. ART PALM BEACH. WEST PALM BEACH. 700
ARTE.
• 2016 ART CONCEPT. ART BASEL WEEK. BAYFRONT PARK, MIAMI. CONTEMPORARY ART PROJECTS
• 2016 ART NOCTURNE KNOCKE. BELGICA. ART CENTER HORES.
• 2016 ART SANTA FE. SANTA FE, NEW MEXICO. CONTEMPORARY ART PROJECTS
• 2016 ART PALM BEACH. WEST PALM BEACH, FLORIDA. 700 ARTE.
• 2015 FIAAM. 700 ARTE Y ANTIGÜEDADES GALLERY. \ LIA BERMUDEZ ART CENTER .
• 2014 FIAAM . 700 ARTE Y ANTIGÜEDADES. GALLERY LIA BERMUDEZ ART CENTER, MARACAIBO.
• 2014 WIKAM, VIENA, AUSTRIA. GALERIE SIKABONYI.
• 2013 WIKAM, VIENA, AUSTRIA. GALERIE SIKABONYI.
• 2013. FIAAM . GALERIA 700 ARTE Y ANTIGÜEDADES. CENTRO DE ARTE LIA BERMUDEZ. MARACAIBO, VENEZUELA.
• 2012. WIKAM. VIENA, AUSTRIA. GALERIE SIKABONYI.
• 2012. FIA 2012. 700 ARTE Y ANTIGÜEDADES GALLERY . VILORIA BLANCO GALLERY. HOTEL TAMANACO, CARACAS, VENEZUELA.
• FIAAM. FERIA INTERNACIONAL DE ARTE Y ANTIGÜEDADES DE MARACAIBO. CENTRO DE ARTE LIA BERMUDEZ, MARACAIBO, VENEZUELA. 2011-2010 ALIA TALLER . 2005-2011 700 ARTE Y ANTIGÜEDADES GALLERY. 2011 VILORIA BLANCO GALLERY . 2004 GALERIA GRAPHIC GALLERY .
• 2010. ARTE AMERICAS 2010. NINOSKA HUERTA GALLERY. MIAMI , FLORIDA.
• 2006. ART MIAMI. ART NOUVEAU GALLERY. MIAMI CONVENTION CENTER. MIAMI, FLORIDA.
• 2005. FIA 2005. ART NOUVEAU GALLERY. TAMANACO HOTEL, CARACAS, VENEZUELA.
• 2005. ARTBO 2005. 700 ARTE Y ANTIGÜEDADES GALLERY. CORFERIAS, BOGOTA, COLOMBIA.
AWARDS • 2015. SPECIAL HONORIFIC AWARD 40 TH FIRE
ARTS BIENNIAL. VALENCIA, VENEZUELA. • 2011. 38 TH FIRE ARTS NATIONAL SHOW. ANGEL
RAMOS GIUGNI AWARD. • 2010. 37 TH FIRE ARTS NATIONAL SHOW. IMAGE
AND SPACE INSTITUTE AWARD . • 2006. 33 TH FIRE ARTS NATIONAL SHOW .
NAGUANAGUA TOWN HALL AWARD. • 2004. EL AJEDREZ EN EL ARTE, SPECIAL
HONORIFIC AWARD. PRESS • ART DAYLY NEWS INTERNATIONAL, MAY 2016, DIC
2016. • AVIOR MAGAZINE ,JULY 2016 • VERNISSAGE ART GUIDE # 307, NOV 2012. • ARTE AL DIA INTERNACIONAL # 130 REVIEW BY
CURATOR AND ART CRITIC BEATRIZ SOGBE. • ART NEXUS MAGAZINE # 58. 2005.
GALLERIES • 700 ARTE Y ANTIGÜEDADES GALLERY.
MARACAIBO, VENEZUELA. • 700 ARTE USA • GALERIE SIKABONYI, VIENA, AUSTRIA. • ART CENTER HORES, BELGICA. • MODUS 8 GALLERY, BELGICA • BESHARAT GALLERY, ATLANTA, GEORGIA, USA. • CONTEMPORANEO ASHEVILLE, ASHEVILLE, NC,
USA. COLLABORATIONS • BELLAS ARTES ART CENTER. MARACAIBO,
VENEZUELA.
ANA MARIA NAVA: SCULPTURES/ THE IMMATERIAL ANA MARIA NAVA PROPOSES A NEW CONCEPT IN SCULPTURE THAT GOES BEYOND TRADITIONAL MODERN IDEALS IN WHICH MATERIAL AND METHOD ARE SUBJECT TO A RIGID, CREATIVE STRUCTURE. THE IMMATERIAL. GLASS IN CONTEMPORARY SCULPTURE BREAKING FREE OF THE LIMITS OF HER MEDIUM, NAVA DEVELOPS A DIFFERENT CONCEPT OF WHAT SCULPTURE IS. USING GLASS AS THE BASE MATERIAL, NAVA CREATES A DIFFUSED, CHROMATIC WEB OF INDIVIDUAL PIECES OF GLASS, HAND-WOVEN INTO SEGMENTS OF COLORED PANELS, CREATING A MESH OF METAL AND GLASS. THE RESULT IS A LARGE, SUSPENDED PIECE WITH PRISMATIC AND MAGICAL EFFECTS. EACH WORK PROJECTS ITSELF BEAUTIFULLY AGAINST ITS SURROUNDING WALLS. THE WORK TRANSFORMS ITSELF NOT JUST INTO AN AMBIGUOUS BODY WITHIN THE SPACE, BUT ALSO INTO AN AERIAL INSTALLATION THAT IMPOSES LIGHTNESS AND TRANSPARENCY. EACH ASSEMBLAGE CREATES SENSUAL FORMS THAT DANCE FREELY IN THE ATMOSPHERE. ANA MARÍA NAVA HAS COMPLETED HER TRAINING IN CONTEMPORARY GLASS TECHNIQUES AT RENOWNED GLASS ARTIST DALE CHIHULY'S PILCHUCK GLASS SCHOOL. HER INVESTIGATION INTO CONTEMPORARY SCULPTURE HAS NURTURES THE LABOR INTENSIVE
CONSTRUCTION OF KILN GLASS OVER ASSEMBLAGES. HER STUDIO IS A DYNAMIC, EXPERIMENTAL LABORATORY WHERE INNOVATIVE TECHNIQUES ARE CREATED. NATURE AS VISION NAVA’S WORK HIGHLIGHTS NATURE AND ITS INTENSE CHROMATICS. EACH CIRCULAR SEGMENT OF GLASS IS FORMED BY A COLORED, CONCENTRIC RING, OR THROUGH INFORMAL SPLATTERS OF COLORS ALLEGORICALLY RESEMBLING FLOWERS OR SPROUTS. THE REVITALIZING COLOR PALETTE THAT DOMINATES THE WORK ESTABLISHES THE ARTIST’S RELATION WITH THE LYRICISM AND POETICISM OF THE TROPICS. SPECIFICALLY, IT EMULATES THE INTENSE COLORS OF HER NATIVE COUNTRY, VENEZUELA, AND HOMETOWN OF MARACAIBO. BEAUTY AS MOTIVE IN THEIR MOBILE, YET CAPTURED FORMS IN IMMATERIAL SPACE AND THE HARMONY OF THE CONTRASTS WITHIN A RANGE OR SPECTRUM OF COLORS, NAVA’S SCULPTURES EMPHASIZE PURE BEAUTY AS CONCEPT. THE VIEWER IS SUBMERGED IN A VISUAL JOURNEY OF PRISMS AND REFLECTIONS, PRODUCING AN ESSENTIAL CONNECTION WITH WHAT IS INVISIBLE IN THE UNIVERSE. THE SCULPTOR ANA MARIA NAVA HAS CREATED AN IMPORTANT PLACE FOR HER WORK IN NEW VENEZUELAN ART. DR. MILAGROS BELLO
CURATOR AND ART CRITIC MEMBER, AICA
HOW LIGHT BECAME MATTER IN THE WORK OF ANA MARIA NAVA VENEZUELAN ARTIST ANA MARIA NAVA ( MARACAIBO, ZULIA, VENEZUELA, 1962) HAS AMPLE STUDIES IN THE GLASS FIELD AND HER WORK IS REPRESENTED IN MUSEUMS AND PRIVATE COLLECTIONS IN AND OUT OF THE COUNTRY. SHE GIVES TO US HER LANDSCAPES THROUGH THE TEMPORARY MATERIALIZATION THAT OFFERS THE DUCTILE ELEMENT WHICH SHE USES TO RECREATE HER MAGICAL AND DIVERSE UNIVERSES . EACH ONE OF ANA MARIA´S SCULPTURES, IS A GALAXY TO BE EXPLORED. EACH COLOR HUE OR BUBBLE CONTAINED WITHIN THE WEIGHTLESSNESS OF GLASS, SUGGESTS INFINITE POSSIBILITIES OF CONTEMPLATION AND REFLECTION. BUBBLES ARE STONES OF A ROAD, IMAGINARY PATHS TO HER TRANQUILITY, TO HERSELF, AND IS HER COLOR, THE IMPETUOUS VOLCANO THAT DRIVES AND SUBMERGES US INTO THE ORIGINAL FIRE.
ANA MARIA IS THE MAIN CHARACTER OF AN EXPLOSION, OUR LIFE´S EXPLOSION. THE WORK AS LIFE ITSELF, AS LAYING FOUNDATION OR AS CHANGE. HER STORIES SPEAK OF ORIGINS, THE ORIGINS HIDDEN IN A WOMAN´S WOMB OR IN THE VIGOROUS SPARK OF A KILN. HER RECENT WORK, HAS A CLEAR FREEDOM OF EXECUTION – AND A WELL THOUGHT ELABORATION- COMBINED WITH THE GESTURE AND FORM IN A CALCULATED COMPOSITION, IN WHICH THE HAZARD OF FIRE PLAY AN IMPORTANT ROLE. SOLID FORMS FULL OF LIGHT AND CONTRAST SEEKING TO REPRESENT POSSIBILITIES RATHER THAN SURPRISES, HIGHLIGHTING THE ESSENTIAL SUBSTANCE WITHIN A FRAGILE BUT EMBLEMATIC AESTHETICS. HER WORK HAS RECEIVED SEVERAL DISTINCTIONS IN THE NATIONAL FIRE ARTS SHOW -A JURIED EVENT ORGANIZED BY THE BRAULIO SALAZAR UNIVERSITY GALLERY AT THE UNIVERSITY OF CARABOBO SINCE 1971- A SCENARIO THAT EXHIBITS THE MOST REPRESENTATIVE AND DIVERSE OF THESE SPECIALTIES IN THE COUNTRY AND WHERE THE ARTIST HAS PRESENTED THE CONVICTIONS AND HOPES THAT MOVE HER TO CONTINUE TO TRANSIT THIS WONDERFUL PATH FORGED IN FIRE, AND OF HOW LIGHT BECAME MATTER AND ORGANIC EXPRESSION THAT SUGGESTS TO BE UNIVERSAL, PLURAL AND FREE. ILICH RODRIGUEZ CORONEL CURATOR, ART CRITIC, MUSEOLOGIST. VALENCIA, VENEZUELA, MAY 2011
