Toronto based realistic Painter; Malinda Prud’homme

“It is my sincerest hope to make women feel empowered and uniquely beautiful just as they are.”

-Malinda Prud’homme

Malinda Prudhomme - Head Shot

Even though I’d been making art my entire life it never became a professional goal until my mid 20s. I’d always wanted to become a teacher because I loved learning and wanted to instill that passion in our youth. People generally like to say that high school “was the best time of their life”. It was the opposite for me. I didn’t fit in socially and was often bullied. In some cases my teachers even took part in ridiculing me and it wasn’t long before I realized kindness and maturity have nothing to do with age. Because of my personal experiences I wanted to become a teacher that students would feel comfortable coming to with their problems. I wanted to be there for those who had no one else to talk to. I worked my hardest to achieve this goal and while I do have all the necessary education and more, it just wasn’t meant to be. After I graduated the teaching market in Ontario was incredibly flooded and it was impossible for me to find work.

After years of feeling like my dreams were unattainable I decided it was time to start a new dream, a dream that had been within me all along but seemed too“unrealistic” to ever give it a try. If my “realistic” dream wasn’t panning out then it was time to go big! I’d already been making art part time so thanks to the support of my family I decided to go full-time. With that support and years of hard work and dedication I am proud to say I have been a full-time professional artist for 4 years now.

What keeps me so motivated is the message I try to spread using my artwork and my online presence. It is my sincerest hope to make women feel empowered and uniquely beautiful just as they are. The amazing feedback from fans that I’m fortunate to receive really keeps me passionate and excited about my work.

Q4 - Malinda Prudhomme - True Beauty - Alisha Gauveau“True Beauty”, “Alisha Gauvreau”

IFWA..You mentioned you were dissatisfied with the way the medias represent women. What do you disagree with?

I disagree with the lack of variety we see in our media. Quite often the women portrayed in magazines and advertisements fit into the stereotypical “norms” for beauty. Generally they are thin, young, and predominantly white. These women are gorgeous but so are others! I believe ALL women, regardless of age, size, ethnicity, and personal style, are beautiful in their own unique way. My message is not one the condemns the beauty of women who fall under societal norms but rather encourages all women to see themselves as beautiful. I would love to see larger women and women of different ethnicity incorporated into our mainstream media. I feel that variety is not only beautiful, but is the key to solving the epidemic of low self-esteem a lot of today’s women suffer from.

Q3 - Malinda Prudhomme - Curvy Beauties

-Curvy Beauties

IFWA..Do you see an evolution , or is it still the same as when you first noticed it?

I have definitely seen things change since starting my practice. A trend that’s becoming more popular is the acceptance that women come in all different shapes and sizes and that these shapes and sizes do not necessarily correlate to their health and certainly do not impact their ability to be beautiful. Perhaps I’m seeing this because I surround myself with like-minded people and am interested in topics that follow this type of thinking but I truly believe it is becoming more common and I can only hope that this continues.

IFWA..Did you ever had any difficulty working as a woman, to find work, or be accepted as a portraitist ? If so, what did you do to help you go through the difficulties ?

It’s hard for me to say whether or not I’ve been held back as an artist because I’m a woman. Honestly I’ve been incredibly fortunate to have had a good amount of work from the beginning. I think my skill speaks for itself and people who don’t respect women would likely not find my work interesting anyways as it revolves around the well-being of women. The only thing that I’ve noticed is how my language is interpreted differently, very likely because I’m a woman. I’m quite confident about my skill and my work. I would never dream of thinking I’m perfect or even better than others, in fact I never compare myself to other artists, but I have come a long way over the years and I’m proud of that. On occasion I’ll receive comments saying I’m “arrogant” or “pretentious” which is always from someone who doesn’t follow my practice. It’s frustrating that a woman’s confidence is seen as arrogance. But then again, I try not to take too much of what is said from strangers to heart. No matter what you do ,there will always be someone out there who dislikes you. You just have to be self-aware and know you’re doing the best you can do.

Q6 - Malinda Prudhomme - Colour Inspired - RAW

–Color inspired, RAW

IFWA..I must say your pencil drawings are quite touching…How is it working in black and white compared with color, or is it a question of medium?

Thank you! It can sometimes be a question of medium. For example if someone requests a charcoal drawing they’ll obviously be receiving an image in black and white but then again I do sometimes make the choice to do black and white with something like oil paints just because it gives off a different emotion. At this point in time I believe I prefer to work with color. The brightness and variety makes me very happy. But I can say from experience that working in black and white is much easier. Your eyes aren’t required to take in as much information. You’re focusing on darks and lights rather than colors as well as darks and lights. I think in the end it’s all a matter of preferences and I’m certainly willing to do whatever my clients wish.

Q5 - Malinda Prudhomme - A Mark Of Beauty

A Mark of Beauty

IFWA.. Your portraits of women really captures their personality . Who are those women and why them? 

Oh, I’m so glad to hear that. Thank you! When I first began doing portraiture I had to prove my skill so I would often work from images of models and actresses who had inspired me in some way. Now that I’ve gathered a following and people are confident in my skills I am able to put calls out to the public for images. Generally when I’m working on a new series I’ll post throughout social media asking for submissions of beauty stating that all women are welcome to apply. From these submissions I am able to choose, sometimes at random, who will be represented in my new works. I LOVE this! This was certainly a goal I had in mind when I first started because I truly want to show “everyday” women just how stunning they really are. So yes! They absolutely can be people I don’t know and have been! Anyone can submit to my calls! The more the merrier. :)

Q1 - Malinda Prudhomme - One And The Same

–One and the same

IFWA..Are you tempted to work with other medias then the ones you are using -mostly oil and acrylic -, say sculpture, clay, photography ?

You’re right! Most of my work is done using acrylic paint and oil paints. BUT I’m also a Mixed Media Artist so from time to time I like to pull out quite a few of my different supplies and put them together in a new series or artwork. I use pencil, charcoal, pastel, watercolor paint, gouache paint, encaustic (wax) paint, and have just begun learning airbrush. As far as sculpture and photography go … No, I’m not tempted to use them. My father is a sculptor but that just never appealed to me. I prefer working in the 2 dimensional plane. I do LOVE taking photographs, especially when I’m traveling, but I believe my shots are better used as reference photos for my artwork rather then incorporated directly into a piece. But you never know! Perhaps that will change in the future.

IFWA..Do you have any interest in working with other artist , collaborating on a common project / exhibition / performance? 

It’s definitely fun to work on collaborations with other artists as long as they have a similar work ethic. I take my work seriously so I would expect anyone I work with to feel the same way. Putting together a show with another artist and maybe creating a collaborative piece for it would certainly be something I’d be interested in.

IFWA..Is there a particular piece of work you are really satisfied with ? If so, why?

One of my favorite pieces to date is “True Beauty” ‘Delena Providence’. Why am I so satisfied with it? Hmm that’s a tough one. I believe it’s because of the look I achieved with the eyes. They are very mesmerizing. Another reason I might be so drawn to this piece is because it depicts a young woman who’s been in my life since I was toddler and I always felt she was special and worthy of being honored in this way. It could also be because this piece took a very long time to complete, putting in each strand of hair one at a time, so there is a sense of accomplishment and time well spent. And lastly because of the variety in her skin tone. Such bright whites and the dark shadows all taking shape harmoniously in one portrait is a bit of a rare thing and I like how it turned out in this piece.

Q9 - Malinda Prudhomme - True Beauty - Delena Providence

“True Beauty”,‘Delena Providence’

IFWA..What direction is your work taking , now?

I currently have an abundance of commissions I must complete so I haven’t allowed myself to go too overboard with planning original artwork/series. I do know that I would like to continue proving that a variety of women are beautiful using “everyday” women. I think that in order to change things up.

I’d like to start including geometric shapes with my portraits as a way of contrasting my realistic portrait style. I also plan to work on wood when I find the time in order to allow some of the natural grain to show through. In all truth I have a huge list of ideas I’d like to get to but for now it’s time to pay the bills. Working on commissions, while isn’t as creative, has it’s own rewards. There’s nothing like creating something that will be cherished and passed down from generation to generation.

On a smaller,scale, I’ve done collaborative works with my fan base, many of which are artists themselves. I held a contest this past year where anyone was able to take my initial drawing and turn it into their own artwork. It was amazing seeing all the different outcomes. You can check it out HERE.

 

Website: www.MalindaPrudhomme.com                                      www. Facebook.com/MalindaPrudhomme                                                                                           Twitter: www.Twitter.com/MalindaArt                                                                                            Instagram: www.Instagram.com/MalindaPrudhomme                                                                        Etsy: www.MalindaPrudhomme.Etsy.com                                                                                                Blog: www.MalindaPrudhomme.Blogspot.com

Eva Hesse documentary

Film Forum presents EVA HESSE starting tomorrow, April 27th in part of “Eva Hesse Around Manhattan.”

From the beginning, Eva Hesse’s life was marked by drama and social challenges. Born in Hamburg in 1936 to a German-Jewish family, the artist’s fierce work ethic may have developed from a complex psychology that was formed, in part, as a Jew born in Nazi Germany. Having escaped the fate of her extended family, Eva and her older sister Helen were sent out on one of the last Kindertransports (trains that carried Jewish children to safety) and was eventually reunited with their parents in Holland. They made their way to New York but her family struggled to make a new home and her mother, after many years of depression and a failed marriage, committed suicide when Eva was 9 years old.

The artist graduated from Cooper Union and Yale School of Art, then returned home to Manhattan in late 1959 and began to receive attention for her highly original, abstract drawings. In 1961 Hesse met Tom Doyle, an already established sculptor, and in a whirlwind romance married him a scant 6 months after first glimpse.  Their relationship was both passionate and competitive. Hesse struggled with the desire to be on equal footing with Doyle in terms of their art making but also wanted to be in a marriage with someone who could offer her the security that life often denied her.

 In 1964 Friedrich Arnhard Scheidt, a German industrialist, offered an all-expenses paid artist’s residency to Tom Doyle for year of working in an abandoned textile factory near Essen, Germany. It was tough choice – go back to the country that had murdered her family or stay in New York and work menial jobs while trying to make art with any time and energy left over. Ironically, the work on which her reputation was built began to emerge during this extended visit to the homeland she had escaped 25 years earlier.

 The documentary film celebrates the life of one of America’s foremost postwar artists and joins organizations around the city in celebrating her work.

 For more information on where her work is being displayed and celebrated, visit: http://zeitgeistfilms.com/sitelets/evahesse/evahessenyc.html

ERICA MURALLES HAZBUN : The Labyrinths

Interviewed and Translation  by Séverine Grosjean, Edited by Yoon Joo Lee

 After studying geography, international relations and sociology in different countries (France, Spain, Portugal, Ecuador, Peru),  Séverine Grosjean works as a freelance cultural journalist. She has published articles in  french, Canadian, British, Mexican, Chilean magazines. She is preparing to inaugurate her  first photography exhibition as curator in Paris in october. 

Erica Murals Hazbun began working with paint, mainly in oil and acrylic, a step which ended after a few years. This did not meet her expectations, due to certain limitations found in the paint. That is why it was necessary for her to experiment with different techniques such as collage and printmaking, including screen printing, gravure printing or digital engraving.

Serie- %22Ensayos Imaginarios%22, Collages, 2010.

Serie: “Ensayos Imaginarios”, Collages, 2010.

Serie- %22Ensayos Imaginarios%22, Collages, 2010. 2

Serie: “Ensayos Imaginarios”, Collages, 2010.

Sín Título, óleo y acrílico, 2010

Sín Título, óleo y acrílico, 2010

%22Laberinto Interno I%22, 2011, Serie- Laberintos, Grabado- Intaglio sobre papel de algodón, 57 x 76 cm

“Laberinto Interno I”, 2011, Serie: Laberintos, Grabado: Intaglio sobre papel de algodón, 57 x 76 cm.

 

%22Laberinto Interno III%22, 2011, Serie- Laberintos, Grabado- Intaglio sobre papel de algodón, Trazo original del Centro Histórico de la ciudad de Guatemala, 57 x 76 cm.“Laberinto Interno III”, 2011, Serie: Laberintos, Grabado: Intaglio sobre papel de algodón, Trazo original del Centro Histórico de la ciudad de Guatemala, 57 x 76 cm.

“Construcciones Imaginarias III”, 2010, Serie- Construcciones Imaginarias, Grabado digital, 61 x 83 cm

“Construcciones Imaginarias III”, 2010, Serie: Construcciones Imaginarias, Grabado digital, 61 x 83 cm

%22 Construcciones Imaginarias VII%22, 2012, Serie Construcciones Imaginarias, Grabado digital, 110 x 45cm

” Construcciones Imaginarias VII”, 2012, Serie Construcciones Imaginarias, Grabado digital, 110 x 45cm

Many of her works are worked from a line drawn by hand and then scanned, along with Mayan textiles models. In her work, she explores the facilities, subject and abstract art. This is particularly the case for this series illustrated by clips called « Process » and a series of installations, she currently continues to develop by including soldering iron and copper wire.

%22Proceso III%22, 2013, Serie- Procesos, Acrílico y grapas sobre papel de algodón, 57 x 76 cm

“Proceso III”, 2013, Serie: Procesos, Acrílico y grapas sobre papel de algodón, 57 x 76 cm.

%22Proceso IV%22, 2013, Serie- Procesos Acrílico y grapas sobre papel de algodón, 57 x 76 cm“Proceso IV”, 2013, Serie: Procesos Acrílico y grapas sobre papel de algodón, 57 x 76 cm.

%22No. 1%22 (detalle), 2014, Serie- Sin Título, metal soldado, Dimensiones variables, 260 x 170 cm

“No. 1” (detalle), 2014, Serie: Sin Título, metal soldado, Dimensiones variables, 260 x 170 cm.

She was quickly interested in abstract art. She wanted to travel to the United States and France to specialize through courses focusing on drawing, composition studies and bases leading to abstract art. Back in Guatemala, she was in contact with several artists who guided the variously as Hellen Ascoli, Marlov Barrios ,Moises Barrios and Max Leiva.

It is important for her to define the relationship between “what we want to do” and “what can be done.” Erica says that throughout the process there is the work that is in the head, the work that is in the hands and the final work. She displays a specific piece but by developing and experimenting with different materials, certain limits and certain changes appear. However, most of her pieces are worked from tests or error, so if the end result varies, it does not matter as long as it does not deviate from her intention.

Her creative process integrates both the written part as the realization of the piece. She needs to work on her pieces. She uses the perception and intuition as a function part of the process. This is the case of an installation in which she was used copper wire as a wire loom. She has chosen for its features and contradictory features: strong and rigid but malleable and resistant.

“Sin Título”, (detalle), 2014, Serie- Sin Título, Alambre de cobre tejido, Dimensiones variables, 260 cm x 32 cm (diámetro)

“Sin Título”, (detalle), 2014, Serie: Sin Título, Alambre de cobre tejido, Dimensiones variables, 260 cm x 32 cm (diámetro).

Erica focuses on every detail. It is a meticulous work. Each work requires a special time. Some can be worked sporadically, but there are others that require ongoing attention. For the latter, Erica becomes a hermit. She locks herself with her until the end. Her work is constantly updated. She uses modulation or repetition as a starting point. She reflected on the daily monotony and behavior patterns in humans and what happens in daily life. The intention is not to build a closed, perfect system, but a system tied to life, so random and unplanned.

To know more about Erica Muralles Hazbun here .

Presented by the International Foundation for Women Artists.


 Interview in French

ERICA MURALLES HAZBUN ET SES LABYRINTHES

Elle a commencé à travailler avec de la peinture, principalement à l’huile et à l acrylique, une étape qui s’est terminée au bout de quelques années. Cela ne répondait pas à ses attentes, en raison de certaines limitations trouvées dans la peinture. C’est pourquoi il lui a été   nécessaire d’expérimenter différentes techniques comme le collage et la gravure, y compris la sérigraphie, l’héliogravure ou la gravure numérique.

Plusieurs d’entre elles sont travaillées à partir d’une ligne tracée à la main puis numérisée accompagnée de modèles numérisés de textiles mayas. Dans son travail, elle explore les installations, l’art objet et abstrait. C’est notamment le cas pour cette série illustrée par des agrafes appelée – Processus– et une série d’installations qu’elle continue d’élaborer actuellement en y incluant du fer à souder et le fil de cuivre.

Elle s’est très vite intéressée à l’art abstrait. Elle a souhaité voyager aux Etats-Unis et en France pour se spécialiser grâce à des cours mettant l’accent sur le dessin, les études de composition et les bases menant à l’art abstrait. De retour au Guatemala , elle a été en contact avec plusieurs artistes qui la guidèrent de différentes manières comme Hellen Ascoli, Marlov Barrios, Moïse Barrios et Max Leiva.

Son processus créatif intègre aussi bien la partie écrite que la réalisation de la pièce. Elle a besoin d’intervenir sur ses pièces. Elle utilise la perception et l’intuition comme une fonction faisant partie du processus. Il lui est important de définir la relation entre «ce que l’on veut faire » et «ce qui peut se faire ». Erica explique que tout au long du processus , il existe le travail qui est dans la tête, le travail qui est entre les mains et le travail final . Elle visualise une pièce déterminée mais en élaborant et expérimentant avec différents matériaux certaines limites ou changements apparaissent. Cependant, la plupart de ses pièces sont travaillées à partir d’essais ou d’ erreurs , par conséquent si le résultat final varie , cela n’a pas d’importance tant qu’il ne dévie pas de son intention.

Ceci est le cas d’une installation dans laquelle elle a utilisé le fil de cuivre comme un fil à tisser . Elle l’a choisi pour ses caractéristiques et ses particularités contradictoires: solide et rigide mais aussi malléable et résistant.

Erica se concentre sur chaque détail. C’est un travail méticuleux .Chaque oeuvre exige un temps spécial. Certaines peuvent être travaillées de façon sporadique, mais il y en a d’autres nécessitant une attention continue. Pour ces dernières , Erica devient une ermite . Elle s’enferme avec elle jusqu’à la terminer.

Son travail est constamment mis à jour . Elle utilise la modulation ou la répétition comme un point de départ. Elle réfléchie sur le quotidien, la monotonie et les modèles de comportement chez l’homme et ce qui se passe dans sa vie quotidienne. L’intention n’est pas de construire un système fermé , parfait mais un système  lié à la vie, donc aléatoire et non planifié.

Séverine GROSJEAN

Lean More about Erica Muralles Hazbun here

Presented by the International Foundation for Women Artists.

Book Review / The Door by Magda Szabo

41WvdAFFBQL._SX311_BO1,204,203,200_

Relationships are hard. That’s what everyone says. Who knows what strange chemistry brings and binds two people together? When it comes to love and friendship, there are limits to how well we can know another person. The shadowy spaces between those limits makes fertile ground for fiction, given the right kind of writer.

Magda Szabó was that kind of writer. Her novel The Door tells the story of the relationship between a woman writer and her housekeeper, Emerence. The two could not be more different. The writer, the story’s narrator, is both politically active and religious. Emerence disdains the Church and all people in positions of power. The writer, married to another writer, lives a life of the mind. Emerence, all physicality, is anti-intellectual. The writer is a public figure; Emerence is secretive and will not let anyone into her flat. Although she is older than the writer, Emerence is much stronger. She works tirelessly – and according to her own schedule – taking care of her neighbors and the local animals when they are in need.

Emerence is not a subservient housekeeper. Emerence speaks her mind to the lady writer, and is often critical of her behaviors and convictions. In addition, Emerence makes unusual demands of her employer. Can she host a visitor at the lady writer’s house? Will the lady writer send her dog to Emerence’s house for the day? The two women get into frequent arguments, with Emerence winning every contest.

When a neighborhood woman named Pollet is found to have committed suicide, the lady writer is shocked to learn that Emerence knew about the woman’s plan and did nothing to prevent it. Emerence explains:

When the sands run out for someone, don’t stop them going. You can’t give them anything to replace life. Do you think I didn’t love Polett? That it meant nothing to me when she’d had enough and wanted out? It’s just that, as well as love, you also have to know how to kill. It won’t do you any harm to remember that. Ask your God – since you’re on such good terms with him – what Polett told him when they finally met.

Despite the turbulence of their relationship these two women come to depend on one another. The lady writer, who recognizes the good in Emerence, acquiesces to the arguments and the dramas. Emerence comes to care for the lady writer as she would a child. And Emerence lets the writer into the most secret part of herself.

Emerence, who is never sick, one day catches the flu. At least, that’s what the lady writer suspects. Emerence’s disappearance from the neighborhood causes alarm. From the novel’s first pages readers know that the narrator feels responsible for killing Emerence. Somehow this strong woman will die. How their relationship builds and the tragedy that undoes it is a keen study in the facts of human dignity.

The Door is considered to be semi-autobiographical. It was published in Hungarian in 1987 and was first translated into English in 1995. The Door is available in a 2005 paperback edition, translated by Len Rix, from the NYRB Classics. A 2012 film version, directed by Istvan Szabo, stars Helen Mirren.

ALEJANDRA HIDALGO : The Natural Installations

 Interviewed and Translated in English, French and Spanish by Séverine Grosjean, Edited by Yoon Joo Lee

 After studying geography, international relations and sociology in different countries (France, Spain, Portugal, Ecuador, Peru),  Séverine Grosjean works as a freelance cultural journalist. She has published articles in  french, Canadian, British, Mexican, Chilean magazines. She is preparing to inaugurate her  first photography exhibition as curator in Paris in october. 

“Alejandra has insisted that her work was a tribute to the Guatemalan culture…..”

 Alejandra Hidalgo entered the world of creation by different doors like poetry, performance or photography. After much time and perseverance, she seems to have found in the installation what resonates with her.

Alejandra Hidalgo

 In 2003 she was asked to live in a house where she would also create. This will be called “In another time …” After  two months of work, research and 7000 baked (tortillas). It is a monumental installation without specific forms, but whose branches play and spread out  in every inch of the space. This work has created some controversy. In a country like Guatemala, where 40% of children under 5 suffer from chronic malnutrition, some people did not understand the use of this staple food in Guatemala, exposed for a moment and then thrown away. Alejandra has insisted that her work was a tribute to the Guatemalan culture and thousands of women daily cooking tortillas. Right or wrong, that is the question…

Alejandra Hidalgo 1

  It will inspire her,again in 2015 in an installation titled “Dreamlike” in an exhibition suggested by the G & T Foundation, “The interrupted dream.” Taking the form of a spiral from the ground up, dreams are transformed, they transform us and keep us constantly in motion, leaving one point and developing. She redefines the structure, the experimental barriers in a limited space giving the shape of a tree and it unconsciously as she says. In Christianity, the tree is the symbol of knowledge of good and evil and the Mayan culture by the Ceiba, the sacred tree, the pride of the Mayan civilization.

Alejandra Hidalgo 2

 With her work, “Footprints in the three times” composed by 5100 baked (tortillas) representing the number of pregnant girls aged 10 to 14  after being abused, most of the time by a parent, the work is much more committed. She carries a sociopolitical act giving shape to daily violence but unfortunately remaining silent. She allows a reflection on this issue but also on solidarity between the victims and the people fighting with them. This work is a metaphor linking violence and tortillas, food every day for Guatemalan. Activism and aesthetics of Alejandra’s work exposes the issue of commitment.

Alejandra Hidalgo 3

 In other works, Alejandra offers environmental awareness. Indeed, in an installation called “Acidosis”, she uses orange peels to recreate a space and reclaiming it. She creates forms and guide the viewer’s perception, walking with this natural material in a built landscape. There is an interaction, a mutual exchange, an atmosphere where the public may feel confused by this accumulation merging art and life.

Today, Alejandra Hidalgo continues this reflection on what it means to be Guatemalan, and the relationship between our individual consciousness and our collective consciousness.

Lean More about  Alejandra Hidalgo here. Check out her Facebook page, too!
Presented by the International Foundation for Women Artists.


 

 Interview in French

Alejandra Hidalgo est entrée dans le monde de la création par  différentes portes comme la poésie, la performance ou la photographie. Après beaucoup de temps et de persévérance, elle semble avoir trouvé dans l’installation  ce qui lui correspond.

En 2003, il lui  a été demandé d’habiter l’espace d’une maison de deux étages. Ce qui s’intitulera «Dans un autre temps…” lui prendra deux mois de travail, de recherche  et 7000 tortillas cuites. C’est une installation monumentale sans formes bien précises, mais dont les branches jouent, sortent, se propagent dans les moindres  recoins de l’espace. Ce travail a créé une certaine controverse. Dans un pays comme le Guatemala, où 40% des enfants de moins de 5 ans souffrent de malnutrition chronique, certaines personnes n’ont pas  compris l’utilisation  de cet aliment de base au  Guatemala, exposé pendant un moment puis jeté à la poubelle. Alejandra a insisté sur le fait que son travail était un hommage à la culture guatémaltèque et aux milliers de femmes  cuisinant quotidiennement des tortillas. Valide ou non telle est la question.

Elle s’en inspirera de nouveau en 2015 dans une installation intitulée “Onirique” dans une exposition proposée par la fondation G & T, ” Le  rêve interrompu.” Prenant la forme d’une spirale venant de la terre vers le haut, les rêves se transforment , ils nous transforment et nous gardent constamment en mouvement, sortant d’un point et gradissant, se développant.  Elle redéfinit dans ce travail la structure, les barrières expérimentales dans un espace limité lui donnant la forme d’un arbre et cela inconsciemment  comme elle le déclare. Dans la religion chrétienne, l’arbre est le symbole de la connaissance, du bien et du mal et dans la culture maya  par la Ceiba,  l’arbre sacré, de la fierté de la civilisation Maya.

Avec son oeuvre,”Empreintes dans les trois temps” composée de 5100 tortillas représentant le nombre de  jeunes filles enceintes  entre 10 et 14 ans après avoir été abusées, la plupart du temps par un de ses parents, le travail de Alejandra est beaucoup plus engagé. Elle réalise un acte sociopolitique donnant forme à une violence quotidienne alimentant le pays mais restant malheureusement silencieuse. Elle permet une réflexion  sur cette problématique mais aussi sur la  solidarité entre les victimes et les personnes qui se battent avec elles. Ce travail est une métaphore liant la violence et les tortillas, nourriture de tous les jours pour les  Guatémaltèques. Le militantisme et  l’esthétique du  travail d’Alejandra expose  la question de l’engagement .

Dans d’autres travaux, Alejandra offre une conscience environnementale. En effet, dans une  installation  appelée “Acidose”, elle utilise des peaux d’orange pour recréer un espace et la réappropriation de ce dernier. Elle créent des formes et  guide la perception du spectateur se promenant  avec cette matière naturelle dans un paysage construit. Il ya une interaction, un échange mutuel, une atmosphère où le public peut se sentir confus par cette accumulation fusionnant l’ art et la vie.

Aujourd’hui, Alejandra Hidalgo continue cette réflexion sur ce que signifie d’être Guatémaltèque  et la relation entre notre conscience individuelle et notre conscience collective.

Lean More about  Alejandra Hidalgo here. Check out her Facebook page, too!
Presented by the International Foundation for Women Artists.


Interview in Spanish :

Alejandra Hidalgo entró en el mundo de la creación por diferentes puertas como  la poesía, la performance y la fotografía. Después de mucho  tiempo y perseverancia, parece haber encontrado en  la instalación monumental  lo que le corresponde.

En el 2003, se le pidió  habitar un espacio en una casa de dos pisos. La que se llamara “En  otro tiempo…”. Dos meses de trabajo, de  investigación, de interrogaciones y 7.000 tortillas cocinadas más tarde, una  instalación gigantesca sin formas  muy definidas, pero cuyas ramas juegan, salen, se extienden en los rincones del espacio. Este trabajo creó cierta controversia. De hecho, en un país como Guatemala, donde el 40% de los niños menores de 5 años padecen malnutrición crónica, algunas personas no entendieron  el uso estropeado  de este alimento  básico de Guatemala, expuesto por un momento y tirado en la basura. Alejandra insistió en que su trabajo fue un homenaje a la cultura guatemalteca a través del consumo de tortilla reuniendo a  todos los guatemaltecos y en especial  rendir un  homenaje a las miles de mujeres que cocinan todos los días tortillas, siendo la base alimenticia de miles de guatemaltecos. Válida o no válida  es la pregunta?

Ella se inspirara  de nuevo de esta acción en el 2015 en una exposición de la fundación   G & T titulado “El Sueno interrumpido”. Se redefine la estructura, las barreras experimentadas en un espacio más limitado dándole  la forma de un árbol y esto inconscientemente porque como lo declara ”no era mi propósito”. Símbolo del conocimiento, del bien y del mal, el árbol representa la vida en la religión cristiana como en la cultura maya por la Ceiba, el árbol sagrado, motivo de orgullo para los Mayas.

El titulo de la pieza es “ensueno”,  una espiral que sale de la tierra hacia arriba, los sueños dan vueltas en nosotros, nos transforman y nos mantienen en constante movimiento, salen de un punto y crecen, se expanden. Las tortillas tienen marcado el sueno de miles de mujeres que a diario se paran frente al comal.

Con la obra titulada “ Huellas en los tres tiempos” compuesta de 5100 tortillas.una cifra no  inocente ya que representa el numero de casos de ninas entre 10 y 14 anos embarazadas despuès de haber sido abusadas, la mayoria del tiempo por uno de sus parientes, el trabajo  de Alejandra es mucho màs comprometido. A traves de este homenaje, realiza un acto socio-politico dando forma a una violencia que alimenta cotidiamente  el pais y que por desgracia se queda callado . Ella  permite  una reflexion “ politica”  por la visibilidad de esta problematica pero tambien de la solidaridad entre las victimas y las personas luchando con ellas.  Este trabajo es una metafora vinculando la violencia diaria y las toritllas, alimento del dia a dia de los guatemaltecos. Sin duda, con la relacion del militantismo y la estetica de su trabajo, Alejandra expone la cuestion del compromiso apelando las emociones del publico.

En otros trabajos, Alejandra ofrece una consciencia  ambiental. De hecho, en otra instalación monumental titulada “Acidosis”, utiliza la cáscara de naranja para recrear un espacio y la reapropiación de este. Utiliza el material encontrado en las calles para crear formas y orientar la percepción que tenemos de este objeto natural en un paisaje no natural. Se trata de una interacción, de un intercambio mutuo. Recrea una  atmósfera donde el público puede sentirse confundido por esta acumulación fusionando el  arte y la  vida.

Hoy, Alejandra Hidalgo continúa esta reflexión sobre lo que significa ser guatemalteca hoy en día y de la relación entre nuestra  conciencia individual y la de los demás.
Lean More about  Alejandra Hidalgo here. Check out her Facebook page, too!
Presented by the International Foundation for Women Artists.