Ana Rendich

I have always been connected to the invisible and visible aspects of human drama, the particular and the universal. My art is assembled from different elements. Even although my paintings and sculptures are my own work and are tied to me, they are not intended to be about me. The subject matter is greater than me as an individual.

There is always a constant connection and dialogue with my works. I follow a state of mind- motion that wakes up what was in me in a dormant stage and evolves spontaneously, without preconceived ideas, and creates a sense- Presence.

These sculptures and paintings emerge from a thought, an infinite path with no endpoint, where resolution is impossible. Hope in the light of loss, and displacement is my primary subject.

The works are fragments of what has been lost, negated, and postponed. Their structures are a form of reparation, a healing tool, tying together absences and presences, in a meditative and reflective form. In some of my sculptures, I incorporate resin, because of its reflective or opaque property, but I transformed it, leaving my own fingerprints.

In certain mixed media pieces, the observer can see the ghostly effect generated by the reflection created by the resin, rendered with vagueness, illustrating the transient and mercurial nature of reality.

When I work, I find the colors as I go along. Upon seeing my art, many find that the colors draw their attention before anything else. The story behind these colors is born by the interplay between these colors. It is not color itself that matters most to me. Rather, the color is secondary, the whole composition makes the work… Colors and shapes are not separated elements, both are an essential symbiosis. When I make an artwork that contains individual pieces, it is always thinking that each piece belongs to the next part, the space that all the pieces occupy, the togetherness, is what makes the work. I don’t plan ahead shapes and colors it comes up in the making.

My work has been evolving and changing every year, incorporating new mediums and materials. Also, sculpture has helped me to open up and allowed me to create pieces that are rooted in the human condition, past and present social and historic events. The base of my art is bringing presence through absence. There are different types of absences: not only physical absence, but also the lack of the fabric that could make us better human beings. All these have created the need to incorporate other elements, according with the sensibility of each piece, like the use or wood, metal and paper, besides oil, silicone, etc. I enjoy immensely the closeness with my materials, the tactile and physical connection too. It takes time to find materials that work with the guiding nature of my process. For example, I often visit lumberyards and I seldom find something that interest me.

The relationship between space and the artwork is essential for me. Every piece has a reason to be in that specific space. And the mediums are external elements that must belong in that space.

Sculpture allows me to expand and enjoy different mediums at one time, and at the same time, I found that sculpture has created a deep connection with space, form and meaning, leaving all decorative items aside, and be concentrated more in exploration, questioning and contemplation.

I see the reflection and surfaces as healing presences, making the invisible visible, filling that void of annihilation.

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