Susana Noriega

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Error de Lua: Error interno: El intérprete ha finalizado con la señal "-129". Susana Noriega (Ciudad de México, 1952) es una pintora mexicana contemporánea, de estilo personal y vanguardista, inscrita en los movimientos del expresionismo abstracto y el surrealismo, y vinculada en su madurez con el arte marginal, el género de dibujo y pintura que suelen cultivar los artistas autodidacticas o naíf, los cuales tienen poco o ningún contacto con las escuelas o instituciones dominantes de pintura. El arte marginal a menudo expresa estados de ánimo extremos, ideas no convencionales o elaborados mundos fantásticos.

Biografía

A muy corta edad descubrió sus aptitudes e inclinaciones por las artes plásticas. From a very early age she discovered her skills for and leanings toward the plastic arts. As a teenager she took part in various contests, and in 1971 her artistic interests led her to attend the workshops of great masters, such as Raúl Anguiano, Rodolfo Nieto, Luis Velasco, Guillermo Zapfe, and Pascual Santillán.[1]

Although at the same time she studied advertising and psychology, she recognized herself as a painter, and she devoted most of her time to pursuing this activity.

Techniques and style

She has made incursions into many techniques: engraving and wood carving; paper engraving; graphic projects for sculpture, as well as painting with charcoal, pigments with oil or water, resins, marble powder, sand and soil, all of them on canvas, wood, clay, stone and paper.

She has specialized in handling graphite and charcoal on paper, as well as mixed techniques with pigments and water or oil, ground marble, sands and resins on canvas. She continuously renews herself, having developed a personal avant-garde style with some influence from abstract expressionism and surrealism. Outsider art is conventionally considered as one of the trends of informalism, but in this painter it is fused with neo-figurative art, an expressionist revival in modern form of figurative art. The term "neo-figurative" emerged in the 1960s in Mexico and Spain to represent a new form of figurative art.[2]

The greatest exponent of outsider art, the French Jean Dubuffet, influenced by Hans Prinzhorn's book Artistry of the Mentally Ill,[3] coined the term art brut, which may be approximately translated as "art in the rough", to refer to the art made by non-professionals, who do not follow aesthetic rules, such as social misfits, children, mentally troubled people, prisoners, etc.[4] Dubuffet gathered a collection of this kind of paintings, which includes works by the Swiss Aloïse Corbaz, the Spanish Alfredo Pirucha and the Swiss Adolf Wölfli.[5] Dubuffet aspired to create an art free from intellectual worries, in which elementary, childish and often cruel figures prevail.

In other words, it is an art created by people alien to the academic ways of artistic expression and traditional cultural values, who paint spontaneously to satisfy an inner need.

This pictoric genre may appear to be unsophisticated in conventional artistic terms, but it stands out because of its freshness, originality and lack of cultural restraints. It differs from pop art in the marginalization or young age of its creators, and from naïve art in the fact that the latter is made looking for public acknowledgment, while the underlying drive of outsider art is entirely intimist. The creativity of outsider art finds inspiration in the same drive as pop art.

Among the late 19th- and 20th-century masters who were interested in outsider art were the Russian Wassily Kandinsky, the Swiss-German Paul Klee, the Austrian Oskar Kokoschka, the French Henri Rousseau and the Spanish Antoni Tàpies.

Features

Some traits of Noriega's work in line with outsider art are:

  • Rough, spontaneous, grotesque and thoughtless quality, akin to the unconscious.
  • Images that reflect her inner world.
  • Use of onirist-like devices.
  • Rejection of the traditional approaches to composition (coherence, organization, homogeneity, etc.).
  • Great freedom in drawing and palette (earthy, pale or bright colors prevail depending on the mood of each painting).
  • Use of very different materials mixed with the paint (plaster, sand, cement, gravel), which add texture and relief.
  • Expressive effects through richly material, textured effects.
  • Recurring motifs developed during extended periods of time (flower vases, the human body, musical instruments, hearts, animals).[6]

Exhibitions

Her first single exhibition, in the Alliance Française at San Ángel in Mexico City, was inaugurated on Friday, April 27, 1979.[7] The Mexico City paper Novedades reviewed:Plantilla:Quote

She went on to exhibit, either individually or collectively, in the following venues and galleries:

  • Galería Estela Shapiro, Mexico City, 1980
  • Centro de Estudios en Ciencias de la Comunicación, Mexico City, 1982, 1983
  • Secretaría de Cultura y Bienestar Social del gobierno del estado de Querétaro (today Instituto Queretano de la Cultura y las Artes), México, 1985, l986, l987
  • Casa de Cultura de Toluca, State of Mexico, 1991, 1992
  • Centro Cultural Juan Rulfo, Mixcoac, Mexico City, 1996
  • Mandarin House Restaurant Exhibition Hall, San Ángel, Mexico City, 1996, 1997
  • Misrachi Gallery, Oaxaca, México, 1998
  • Casa de las Campanas de Tlalpan, Mexico City, 1998, 1999, 2000
  • X-Dada Exhibition Center, 2001
  • Constante y Asociados Gallery, 1999, 2000, 2201, 2002
  • Casa de la Cultura Jaime Sabines, Galerías Adán y Eva, Mexico City, 2002
  • La Cueva de Bouchot, 2002, 2003, 2004, 2005
  • The painter's studio, 2006-2013
  • Goiko Arte, online gallery, 2013-2018
  • Café-Arte, Guadalupe Inn, Mexico City, 2014
  • Centro Cultural Juan Rulfo, Mixcoac, Mexico City, 2016

From the 1960s she has contributed with her paintings to different media, such as magazines Plural (currently Vuelta) and Sí para Jóvenes, and newspapers El Sol de Querétaro and El Sol de Toluca. She has also illustrated short-story and poetry collections.

Painting collections

Virginia Aspe Armella, Norma Barquet, Enrique Beraha, Alfonso and Ernesto Bolio, Ezequiel Castro, Ana Laura Constante, Paloma De Lille, Rubén Durand, Cecilia and María Luisa Elío, Francisco Franco Ibargüengoitia, Carlos Fuentes, Jomí García Ascot, Raúl Gasca, Alicia Ibáñez Parkman, Luis Legarreta, Alberto Lifshitz, Carmen Madero, Pablo Marentes, Martha Maza, Maricela Mir, Héctor Muciño, Pedro Ojeda, Octavio Paz, Erwin Preston, Mario Quiñones, Agustín and Nieves Rivero Blásquez, Héctor Rivero Borrell, Ricardo Secín, Carlos Serrano, Estela Shapiro, Malke Tapuach, Ángela Treviño, Carmen Ubaldini, Luis Velasco.[8]

Gallery

  • Sunflower marguerites, oil on canvas, 1986

  • Fished fish, watercolor or engraved paper, 1997

  • Blue flowers, cream vase, acrylic on canvas, 2007

  • Window and road, mixed technique on canvas, 2009

  • Zither, mixed technique on canvas, 2010

References

  1. ↑ Guillermo Tovar de Teresa et al., Repertorio de artistas en México: artes plásticas y decorativas, Mexico, Grupo Financiero Bancomer, 1996.
  2. ↑ Hal Foster, The Return of the Real: the Avant-Garde at the End of the Century, Cambridge, Massachusetts, Massachusetts Institute of Technology, 1996, 1999).
  3. ↑ Hans Prinzhorn, Artistry of the Mentally Ill, New York, Springer-Verlag, 1972 (translation from the original work in German, Bildnerei der Geisteskranken, Berlin, Julius Springer, 1922).
  4. ↑ Jean Dubuffet, "Art Brut in Preference to the Cultural Arts", translation from French by Allen S. Weiss and Paul Foss, in Art Brut: Madness and Marginalia, Allen S. Weiss (ed.), special issue of Art & Text, No. 27, 1988, p. 33.
  5. ↑ Serge Fauchereau (ed.), En torno al art brut, translation by Inés Bértolo, Madrid, Ediciones Arte y Estética, Círculo de Bellas Artes, 2007.
  6. ↑ André Breton, "El arte de los locos, la llave de los campos", chapter 5 of Antología (1913-1966), twelfth edition, selection and prologue by Marguerite Bonnet, translated by Tomás Segovia, Mexico, Siglo XXI, 2004.
  7. ↑ "Catálogo de exposiciones de arte en 1979", Supplement of Anales del Instituto de Investigaciones Estéticas, vol. 13, No. 49, first edition, Universidad Nacional Autónoma de México, 1979.
  8. ↑ Ana Garduño, El poder del coleccionismo de arte: Álvar Carrillo Gil, first edition, Universidad Nacional Autónoma de México, Coordinación de Estudios de Posgrado, 2009.


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