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Yilian Marie

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SELECTION OF WORKS (2009-2011)

Yilian Marie Torres

My proposal is technically based on the tradition of graphic art, as I carry out abstraction through the use of the particular characteristics of engraving. I appropriate Dripping for its connection with freedom and expressive spontaneity within art history. I adopt the process, the stance, for what it has transcended as a pictorial gesture. I bring two creative processes into dialogue by juxtaposing the pictorial and the graphic. By appropriating the canons and criteria of creation from Action Painting, I propose a commentary based on a personal criterion of how risky it is to be assertive regarding freedom in art and how fragile this criterion is. An example of this is that Pollock sometimes sketched before executing a Dripping and later retouched the paintings to achieve a result more in line with his intentions. Abstract painters set out something utopian, as by stripping themselves of the stereotypes of the academy, they created new canons and criteria of creation. Action Painting has become quite a classic, influencing modern art, mainly the idea that a work of art should clearly exhibit the imprint of its creative process.

A GESTURE IN TWO TIMES. 2009-2010 (GRADUATION THESIS) XYLOGRAPHIC MATRICES

2.45 X 1.25 M EACH

In these pieces, I bring two creative processes into dialogue through the development of an abstract-looking matrix. I appropriate methods or procedures such as psychic automatism to consciously and consistently repeat a gesture; in a first step I formally appropriate dripping, and subsequently, I apply graphic procedures. I make a kind of confrontation of mediums, between technical languages, taking the guide on wood as the other gesture that negates the supposed spontaneity of the pictorial.

A Gesture in Two Times

XYLOGRAPHIC MATRICES

2.45 X 1.25 M EACH

A gesture in two times

XYLOGRAPHIC MATRICES

2.45 X 1.25 M EACH

Detail
Process of creation

A gesture in two times

XYLOGRAPHIC MATRIX

2,45 X 1,25 M

Detail
Process of creation

A gesture in two times

LOST WOODBLOCK PRINT (2 MATRICES). HAND PRINTED

2,44 X 1,22 cm

A gesture in two times

LOST WOODBLOCK PRINT (2 MATRICES). HAND PRINTED

FIXATIONS. TWO-PERSON EXHIBITION. RUBÉN MARTÍNEZ VILLENA PUBLIC LIBRARY GALLERY

In the following sets, I repeat the previously explained procedure, making an edition of two lost woodblock matrices and assembling the prints to create two pieces of a larger format. The repetition of the motif is intended to question the criterion of spontaneity in the Action Painting procedure.

15/15. 2010

15 PRINTS ASSEMBLED FROM A XYLOGRAPHIC MATRIX

2,50 X 1,50 M

1/15. 2010

LOST WOODBLOCK PRINT

50 X 30 cm

PROVINCIAL CENTER OF PLASTIC ARTS AND DESIGN, GRANMA, CUBA

15/15. 2010

15 PRINTS ASSEMBLED FROM A XYLOGRAPHIC MATRIX

COLLECTIVE EXHIBITION "WWW.CASCARILLA.COM".

PROVINCIAL CENTER OF PLASTIC ARTS AND DESIGN, GRANMA, CUBA

PRINTING PROCESS

12/12. 2010

12 PRINTS FROM A XYLOGRAPHIC MATRIX ASSEMBLED

1,00 X 0,50 M

1/12. 2010

LOST WOODBLOCK PRINT AND SERIGRAPHY

25 X 16,5 cm

CLONE. 2009

SERIGRAPHY ON CANVAS

5,0 X 1,1 M

In this piece, I appropriate the visuality of dripping through serigraphy. I juxtapose the spontaneity of this pictorial gesture with serigraphy, which, on the contrary, is an industrial, mechanical, and even cold process.

CLONE. 2009

SERIGRAPHY ON CANVAS

5,0 X 1,1 M

Detail
Obra: Clon 1 Obra: Clon 2 Obra: Clon 3

CLONE 2. 2010

TRIPTYCH. SERIGRAPHY ON KRAFT PAPER

1,4 X 2,5 M C/U

Printing process
Printing process
Detail

Havana, July 2011

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