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In this essay, Roberto Guevara discusses Gaudí Esté’s visual art, acknowledging the importance of the Venezuelan sculptor’s relationship with wood, her material of choice. Guevara sees similarities between her carvings and Russian “matryoshka” dolls, and between her sculptures and those produced by Marisol [Escobar]. He also compares Esté’s sculpture to certain relief works from antiquity. In Guevara’s opinion, she uses painting and drawing as more than a simple support for her sculpture, thus highlighting her versatility in several carving and assemblage techniques and procedures.     

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This essay by the Venezuelan poet and art critic Roberto Guevara (1932–98) about the sculptor Gaudí Esté (b. 1947) appeared in the catalogue for Gente, Esté’s first solo exhibition, at the Galería Minotauro in Caracas in 1982. The essay introduced Esté’s work to a Venezuelan audience. Guevara mentions the clear visual and aesthetic similarities between these works and those by Marisol [Escobar], the well-known North American-Venezuelan sculptor. But rather than ignoring this or trying to justify it, Guevara merely acknowledges it and focuses more on their differences than their similarities. He also does not see it as a determining factor in the aesthetic discourse that Esté seeks to convey in her sculpture. The most representative feature that Guevara finds in her first series is her ability to combine—in one single piece—the two-dimensionality of painting and the three-dimensionality of sculpture. In his essay, Guevara discusses the first stage in Esté’s career, in which the human figure plays an extremely important role. It is here, according to Guevara, that Esté achieves an extremely formal synthesis. Given that this is the artist’s first solo exhibition, Guevara waxes enthusiastic about Gaudí Esté’s future.         

Researcher
Juan Carlos Azpúrua
Team
Fundación Mercantil, Caracas, Venezuela
Credit
Roberto Guevara, 1982
Location
Biblioteca Museo de Arte Contemporáneo, Caracas