Hulda Guzmán I am interested in achieving what I consider a challenge for the medium of painting: to recount

Artwork

Fiesta en el batey.  Acrylic on canvas. 178 x 284 cm. 2012
Fiesta en el batey. Acrylic on canvas. 178 x 284 cm. 2012
A Necessary Evil. Acrylic On Oak Veneer. 37 X 124 cm. 2015
A Necessary Evil. Acrylic On Oak Veneer. 37 X 124 cm. 2015
Dynamic Relaxation. Acrylic On Oak Plywood. 120 X 120 Cm. 2013
Dynamic Relaxation. Acrylic On Oak Plywood. 120 X 120 Cm. 2013
Behind The Wall.  Acrylic On Cedar Plywood. 120 X 120 cm. 2015
Behind The Wall. Acrylic On Cedar Plywood. 120 X 120 cm. 2015
Through that little window. Acrylic on walnut venneer. 63 x 101.5 cm. 2015
Through that little window. Acrylic on walnut venneer. 63 x 101.5 cm. 2015
Live portrait.  Acrylic on walnut veneer. 11 x 8.5 cm . 2015
Live portrait. Acrylic on walnut veneer. 11 x 8.5 cm . 2015

Artistic Statement

Artistic Statement

I am interested in achieving what I consider a challenge for the medium of painting: to recount an event in a bi-dimensional space that lacks the help of narrative discourses like the ones in cinema. This makes me want to translate the concepts of temporality and storytelling to the painted image. How to understand the notion of time or narrative in painting? How to tell stories in a medium that is essentially spatial and that at first sight lacks the necessary components for every story?  Firstly, the narrative is constructed on two essential axes: description (detecting the action to indicate the elements in question and their spatial location), and narration (it consists of the representation of actions or happenings, events… etc.) it deals with the transformations of what’s described). We have the case of those images that suggest in their own immobility a whole time course, that happens thanks to the tensions of the used plastic elements (composition, direction, rhythm, etc.) or by the depicted scene (the characters’ expressions, objects that take us to different moments in the story… etc.).  Since the origins of figurative painting, and at least until the late Renaissance, we express ourselves through a story.

During this residency I plan to focus on narrative work — the art of storytelling. Just as the situations of my insular atmosphere were recounted in earlier works, I will now step out of my comfort zone and experience the taste of New York, with its cultural diversity and constant flow of creative energy, and allow it to infuse what I create.

 

Bio - CV

Hulda Guzmán’s (b. 1984, Dominican Republic) energetic paintings approach portraiture and interior scenes with an experimental eye for technique and depiction. She studied visual arts and illustration at Altos de Chavón School of Design in the Dominican Republic, and she has a degree in visual arts from the National School of Visual Arts, Mexico, with a speciality in photography and mural painting.


She has participated in individual and group exhibitions in Santo Domingo, Miami, New York, Seoul, Guatemala, and Los Angeles; most recently in solo exhibitions at VOLTA NY in March and at Galería Machete (Mexico City) in June. Her works can be found in the permanent collections of Centro León Jimenes (Santiago); Fundación Casa Cortés (Viejo San Juan, Puerto Rico); Antonio Murzi Colleciton (Panama); and in private collections in the Dominican Republic, China, Spain, France, Italy, and the United States.

Guzmán attended the New York residency from September – November, 2015.