The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
The critic Roberto Guevara reviews the career of the Venezuelan ceramicist Noemí Márquez from a perspective that underscores her strategies in terms of the environment. Using this idea as his organizing principle, Guevara addresses each stage in the artist’s career, discussing her successive transitions, from utilitarian to sculptural ceramics, and from there to her later environmental installations. Guevara identifies two lines of inquiry in Márquez’s work: one is the conquest of open spaces, and the other is her research into textures and reliefs in her installation. Beyond her evocation of primordial universes, her work is an instrument that creates links with reality and a space in which to reflect upon it.
In the field of Venezuelan ceramic arts, Noemí Márquez (b. 1933) is a figure of fundamental importance in terms of the approach to traditional genres; her work is representative of a transition between utilitarian ceramics and a monumental open space, and her constructive style questions and explodes the permeability between categories—between sculpture and ceramics. In this essay, which is part of a complete volume on the work of this ceramicist, the Venezuelan critic Roberto Guevara (1932–98) discusses those transitional spaces and the way in which each new work advocates an examination of the structures of reality. Going beyond the superficial reading that one so commonly finds in the interpretation of ceramic arts, based on archaic reminiscences and the need to return to the original element, Guevara acknowledges that Márquez’s work has a place in the present that involves an ongoing relationship with the world (be it natural, technological, or spiritual). The two lines of creative inquiry identified by Guevara give her work a double dynamic: on the one hand there is expansion (that reflects on the space), and on the other there is introspection (in terms of the constructive quality of each piece). Márquez’s work, therefore, frequently shunted by and contained in the ceramics category, shifts over and stakes out its own place in contemporary art, thanks to its willingness to delve into the appropriation of codes and languages.