SANDRA VALENZUELA | Work

SANDRA VALENZUELA
Black Oil Paintings
2011
Ink on vinyl on trovicel
100 x 100 cm each
Edition of 3 + 2PA

BLACK OIL PAINTINGS is an ongoing project of black  “paintings” which through the use of black over black depict logos of important oil companies around the globe. The paintings are made with materials coming from petroleum, therefore, establishing a relationship between symbol and matter. The project relates to power as an abstract entity. It makes reference to French Tachisme, Abstract Expressionism, Pop Art, and the idea of darkness in Goya´s black paintings.  The project is a reflection upon the historical idea of the black painting as a dark depiction or the last stage of abstraction and containment of color. It also works in the tension between an abstracted perception of power, wealth and energy while at the same time a “familiar” symbol of the energy sources that play such an important role in the mobility and pace of the current world.

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Sandra Valenzuela. Black Oil Paintings, 2011. Installation view

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SANDRA VALENZUELA
Black Oil Paintings (Shell)
2011
Ink on vinyl on trovicel
100 x 100 cm each
Edition of 3 + 2PA

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SANDRA VALENZUELA
Black Oil Paintings (N.I.O.C.)
2011
Ink on vinyl on trovicel
100 x 100 cm each

Edition of 3 + 2PA

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SANDRA VALENZUELA
Black Oil Paintings (PEMEX)
2011
Ink on vinyl on trovicel
100 x 100 cm each
Edition of 3 + 2PA

 

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SANDRA VALENZUELA
Guilles Deleuze en un vestido  de 1969
Marcel Duchamp porta un traje de baño del verano de 1946
Edward Bernays en un abrigo de 1950
LOS GENIOS A LA MODA
2011
Vinyl on stainless steel mirror Vinyl on stainless steel mirror
180 x 81x 4 cm each
Edition of 3 + 2PA

Brain in vogue alias Fashion Genius is a series of portraiture drawings taken from fashion illustrations of female garments with the faces of outstanding male individuals within the 20th century. The characters share the ability to intertwine different disciplines and drawn influential ideas within their fields. The projects relates to fashion, the diva, the power of ideas, and the image of the artist and intellectual. It is a runway but also a personal pantheon. The garments refer chronologically to important events in the geniuses lives. The series over stainless steal mirrors links the narcissism of the spectator with the idealized and feminized portrait of the character.  The power of the geniuses increases with the ability of the spectators to reflect over them.

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SANDRA VALENZUELA
Media-noche
2007
Lambda metalic on plexi with wood frame
60 x 45 cm each

 

From the series: Media-noche
My personal experience as a tropical immigrant in a cold environment, the conscious need for protection and isolation as well as the use or lack of hammocks had an influence in the creation of this project. Before moving to Brooklyn, NY, I had developed an unconscious fixation with the Seventeen century Spanish painter and monk from the Carthusian Order, Juan Sanchez Cotan. I find Cotan to be brave because he was able to create an austere style in his still life paintings during the baroque, and that he left the life of a renowned painter in the Spanish aristocracy to become a monk, dedicating his life to spiritual search. From Cotan’s images, I stole the idea of hanging my models, as during that time this was a way to preserve vegetables. I decided to turn the photographs upside down, putting the objects in a weightless situation that suggested the ability of photography to defeat gravity, or the creation of an imaginary space. The name media translates to tight or stocking, noche translates to night, And the word together means midnight as well as refers to the Cuban sandwich, Medianoche, made out of leftovers, typically eaten after a night of dancing and drinking. After the shooting I cooked a feast and ate all of the models.

 

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SANDRA VALENZUELA
“No manches! | Don’t Stain (a pun in Spanish)”
Monsters or Who’s finger?, 2008
Lamda metallic print
80 x 80 cm

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SANDRA VALENZUELA
Untitled (gold)

Serie: Naturaleza Muerta, 2005
102 x 160 cm

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SANDRA VALENZUELA
Ex-boyfriend or Fake memories
2007
Inkjet on hahnemulle paper
67 x 53 cm each

X-boyfriend alias Fake memories
As a result of an identity, alienation and loneliness crisis, I began the series X-project alias fake memories, chapter one: Paco and I. The project began when I sent a ticket plane to my ex-boyfriend from Mexico to New York. Some information about my relationship with Paco : He is handsome, smart, cultured and self-conscious of these qualities. He grew up among females and was very close to his feminine and manipulative side. I always felt like I had to woo his care. Considering this emotional context, I decided to shoot the project in Prospect Park, an artificial environment that aims to appear natural, where Paco would be a respectful lady and I would be a teenager boy from the twenties. In my imagination, the twenties provided a poignant window because what began with such fervor ended with a tragic crisis. So for me, this was an emotionally charged decade. My haircut is based on that of Tristan Tzara, which I found in a vogue magazine compilation from that time. During the postproduction I painted with Photoshop over the pictures exaggerating the process of a hand colored black and white print. This became the first chapter of fake memories in different decades with me and my x-boyfriends, which I consider as My bachelors.