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.
In this text, curator William Niño Araque reflects on Fabiola Sequera’s sculpture on the occasion of the exhibition held at the Galería Astrid Paredes in Caracas in 1991. The curatorial essay proposes three approaches to a body of work that ranges from an interrogation of “weaves” to “painting” and, finally, to “the sculptural.” The author addresses the pursuits, strengths, and complexities of Sequera’s sculptural work.
This curatorial essay by architect and curator William Niño Araque was written on the occasion of Obra reciente, a show of sculpture by Fabiola Sequera (b. 1953) held at the Galería Astrid Paredes in Caracas in 1991. In it, Niño Araque deciphers the codes operative in Sequera’s sculpture. He asserts that “rational structure and gestural expression” form the basis of an exceedingly complex discourse and conceptual framework built from the artist’s innermost depths to enable her to materialize her ideas.
This text provides an overview of the formal operations Sequera performs during the creative process. Niño Araque’s description reflects wide knowledge of Sequera’s work and of art from the eighties and early nineties in general. With its complex understanding, this text makes a major contribution to the interpretation of Sequera’s sculpture.