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A painter whose quiet skill caught our fancy is Tata Navia whose chairs come to life on the canvas. Each painting in this series can be considered a narrative in its own right and it is truly fascinating to watch these characters, while forgetting they started off as pieces of furniture. This artist has imbued her work with spirit and that’s why she’s Number 9. Go In the beginning of the second decade of the 20th Century, the
Russian Avant-Garde movement allowed for the pursuit of the essential.
Quite possibly the most radical proposal in this sense was Suprematism.
Mondrian was simultaneously carrying out a similar effort for simplification,
which defined his style and allowed him to generate a very particular
abstract impulse. Tata Navia is a vivid example of how the artistic soul manages to emerge despite difficulties in the acceptance of one’s instinct and vocation. Tata’s first experience with art was as a student in her hometown’s Lycée Français in Cali, where she explored drawing, ceramics, painting and batik. Her mother, always appreciative of her talent and creativity, insisted that she should pursue a career in the arts. Navia was doubtful of this advice and feared the uncertainty and inherent difficulties in succeeding professionally as an artist. Her rather traditional upbringing, despite her family’s respect and admiration for contemporary artists, made her skeptical about choosing a career which would entail adopting a more bohemian and erratic lifestyle. Go Tata Navia: la pintura al servicio
del goce El arte contemporáneo se toma
a la capital Laura Peturson, Curator, Odon Wagner
Gallery, Toronto, Canada |
| .......................................................................................................................................................................................................................... In the beginning of the second decade of the 20th Century, the Russian Avant-Garde movement allowed for the pursuit of the essential. Quite possibly the most radical proposal in this sense was Suprematism. Mondrian was simultaneously carrying out a similar effort for simplification, which defined his style and allowed him to generate a very particular abstract impulse. Malevich and Mondrian are often considered the origin of minimalism, which as of today is not only one of the most solid forms of art from the end of the 20th Century, but also one of the most valuable sources in contemporary visual arts. Nevertheless, the search for the essential did not only take place in radically abstract fields, but it also bred figurative responses. This brings us to reflect on the Italian Avant-Garde and its two most clearly identifiable movements: Futurism and Metaphysical Painting. They were both united by their desire for the very specific. The description of the movement and the action towards the development of the cubist’s ideas on the part of the futurists. An existential desire in the painting of solitude, the infinite space and the power of objects as vessels of symbolism. Evoking Giorgio De Chirico and his Italian plazas, a project he abruptly halted, but that gave a privileged place in modern art. The prolific work of Giorgio Morandi, a peculiar artist of the same time period that focused his works in simple still lives to transform them into his life-long obsessive and reiterative argument. Morandi’s paintings rid themselves of all artifices. He chose basic object designs to represent them in intimate harmony and create spiritual tension. To create this climate of dispossession and withdrawal, he assisted himself of a type of chromatics that progressively became inundated with light and faint shadows until reaching almost monochromatic paintings. Morandi’s plain and clean work became the great parabola of existence that occurs in the minimal. All of these references to modernity are, I believe, pertinent to the process of approaching the paintings of Tata Navia, most of which have been produced in the new millennium. Her work is focused on space and simple objects, which she builds upon to create a particular language. She prefers to employ the use of traditional material to support and showcase her work. Wooden frames, linen, pigments that are managed with pulchritude and tone variation, in such a way that they create a convincing atmosphere in the scenic cube. The ingredients preserve tradition, while the sense of space and the way in which she uses objects, intentionally placing them in different formats, are designed to evoke questions about the meaning of the here and now. We know that memory stores and classifies information selectively. It is in this way that we develop a particular taste that guides our will to consciously and unconsciously achieve specific results. It is evident that Tata Navia made her choice for the dispossessed, minimal and simple, at the same time reaching expectations and intrigue amongst admirers that can only visualize precarious elements to put together their own story. Perhaps a story made up of various interrogations, rather than of evident and definitive answers. Minimalist art, which began being exhibited and discussed since the second half of the 1960’s, exerted its influence in all disciplines, successfully seducing architecture, design, decorative arts, fashion, dance, music, film, video, photography and advertising. The triumph of the essential was also registered as a new spiritual emergence and the search for symbols of tranquility, peace, refuge and equilibrium, in the midst of a society inundated with the complete opposite. It is this ambience that Tata Navia’s simple but effective painting is produced. Through her work we not only perceive her focus on still objects, but also a design that represents simplicity. Examples of this are some of the pieces she created during 2001 as the fruit vase lying over a floating carpet (Urna Thai) , the table’s profile with an empty cylinder (Where are the flowers?), the vase on the shelf that seems to levitate (Suspended) or a cube floating in the space (Cube). These represent simple themes that she recreates through the use of light to solve space conflicts. The following year she not only produced variations on the former themes, but also focused on fruit as central objects. The shades created by these elements became an essential theme of the artistic composition and the expanding chromatic spectrum: ocres, blues, greens, reds, yellows, revealing the first hint of scenery. In this instance, she gives more value to the space, rather than the object, as a means of expression. In turn, her diptychs and triptychs highlight the emptiness and
generate a suggestive background for the objects. In the three frames
composing Shadow, one of them is represented by a chair. The following
module is occupied by its shadow, while the third is simply part
of that architecture which extends itself until it becomes empty,
creating a peaceful and suspenseful ambiance. In the experience with Empty Chair, the chair serves to lure the admirer’s attention, drawing you to reflect upon the power of its silence, where the object is merely a point of reference within a backdrop of free and open association. Let’s think about the Van Gogh chair, alone or in its room in Arles. Let’s remember the paradox in The Chairs by Ionesco, forming obstacles, labyrinths and memories for the two elders who don’t remember if they were friends, siblings or lovers. Remember all the chairs of the contemporary dance. The eccentric chairs loaded with the feeling of one of the most outstanding contemporary creators, Robert Wilson. Also the chairs from the Bahaus’ essentialist movement come to our minds. “The chair is a fixation and I cannot get over it for now” says Tata Navia, referring to her suspended chairs in circle, partially presented in abundant spaces, empty and almost metaphysical. In addition to the obsession for the chair, she adds her interest for red, that she already worked with in previous pieces on an intermittent basis, but now is a recurrent theme and it seems unique. “It gives me equilibrium; it’s exciting, passionate, irritating, and dangerous”. Magnificent color. Diverse symbol in man’s history: power and glory, violence and death. Indispensable element in the painting. Its use has always meant a challenge. The impact of many paintings of the Renaissance and Baroque resided it its absolute impact. The red in China, in Goya, the flags of the Revolution and war. The red of blood. The red of life. At his memorable conference on blindness, Borges spoke of his sympathy towards the blind and their inability to feel and experience red, “a color that shines throughout poetry, with so many beautiful names in so many languages.” Precisely on ample and generous red stages, Tata Navia projects her mysterious chairs, continuously experimenting and proving that painting is a patient, noble, and pertinent pursuit, powerfully defending representation within the vast and plural discussion of contemporary art. Miguel Gonzalez .......................................................................................................................................................................................................................... Tata Navia is a vivid example of how the artistic soul manages to emerge despite difficulties in the acceptance of one’s instinct and vocation. Tata’s first experience with art was as a student in her hometown’s Lycée Français in Cali, where she explored drawing, ceramics, painting and batik. Her mother, always appreciative of her talent and creativity, insisted that she should pursue a career in the arts. Navia was doubtful of this advice and feared the uncertainty and inherent difficulties in succeeding professionally as an artist. Her rather traditional upbringing, despite her family’s respect and admiration for contemporary artists, made her skeptical about choosing a career which would entail adopting a more bohemian and erratic lifestyle. Instead, she decided to pursue studies in dentistry in Bogotá, which according to Navia, is also a very particular form of art requiring skillful attention to detail. While a student, she did some free-lance work as an advertising model, which while unsatisfying, did prove financially helpful. After graduating as a dentist and then completing further graduate studies in the same field, Tata married businessman Germán Cano and set up a dental clinic which quickly became a success in her husband’s hometown. With two of her three young children on board, she and her family fled Colombia fearing the possible consequences of social and political turmoil. Tata’s family was forced to start a new life in Florida, where the continuation of her professional career meant that she had to go back to dental school to validate her previous degrees. Once again, her mother insisted that she should give fine arts a try. Finally, she took this advice, which also meant beginning a new endeavor from scratch. As a mother of three and a practicing dentist, Tata found herself slightly out of place upon beginning fine arts studies at Florida Atlantic University. There, she was surrounded by a diverse group of young bohemian artists, still engaged in the college partying lifestyle. Nonetheless, Tata adapted to her new environment and learned to coexist in this culture. With a supportive husband at her side, she switched her medical uniform to t-shirts, shorts and sandals. Since she was very young, Tata has been industrious, imaginative and independent, with a remarkable entrepreneurial spirit. Additionally, she always displayed an unusual amount of natural artistic talent. Her obvious ability to blend these skills led her to exhibit and sell her paintings in the Coral Gables Latin American Museum after only six months in art school. Through her work, Tata prefers not to convey existential or political messages; nor does she attempt to consciously express sadness or devastation. Rather, she focuses on the translation of still object to canvas. When she begins a painting, she generally does not have a clear idea of what she is going to paint. Instead, she allows herself to be led by a myriad of memories and images. Once she takes the paint brush to canvas, the invisible hand of her subconscious begins to create with an unmistakable and almost eerie simplicity. She skillfully highlights the contours of the object she paints, its slight shade, and its tortuous shine, while transforming the background into a dream-like vision, filled with suggestive chiaro-oscuro. Once in a while, the artist stops to reflect on the painting: ¨It needs more light, color, equilibrium, shade, simplicity”. If she feels the painting is not yet ready, or that is has no possibilities, she simply paints over it. When she does so, the oil paint on the Irish linen gains texture and contrast and the next attempt begins with a promising layer of colors that are simultaneously blended and separate. Tata feels very comfortable working with oil, egg tempera, acrylic or any combination of these, while preferring to paint on a linen canvas. As for inspiration, she is most influenced by the Cuban artist, Julio Larraz. While touring Latin America, she has exhibited her work in Guatemala, Cali, Bogotá, Caracas and Quito. She has also held exhibitions in Miami. In 2001, she was awarded the first prize of The Latin Women Art Exhibition and was named artist of the year by the Latin Women Empowering Latin Women Organization in year 2000. When asking Tata about her career goals as an artist, she bravely says that at this point she sees no limits. Although she considers herself an emerging artist still engaged in learning, she has no problem to admit that she takes great pleasure in her recognition and successes. Tata Navia understands that behind every achievement or award there is tremendous effort, perseverance and sacrifice. Above all, she translates the deep love she feels for her art into the masterpieces she creates. .......................................................................................................................................................................................................................... Tata Navia: la pintura al servicio del goce Tata Navia expuso su exhibición "Vacante" en la sala de exposiciones del primer Piso del Centro Cultural Comfandi; un reencuentro con su Cali del alma y con tantos amigos y personas que la valoran, sin importar la distancia desde USA, donde la artista reside. Caleña de pura cepa y estudiante del Liceo Francés, Tata Navia descubrió muy temprano su afición por el arte, a través de cursos de cerámica y pintura. Odontóloga de profesión, no dejó jamás de lado su pasión por la pintura y tomó la decisión de dedicarse por completo a ella. Ingresó entonces a la Florida Atlantic University y obtuvo su licenciatura en Bellas Artes, con grado de Magna Cum Laude. Desde entonces no ha parado de exhibir ni de demostrar su talento, poniendo en alto su origen latino; en el 2000 recibió el reconocimiento como la artista revelación del año por parte de la Organización de Empoderamiento de Mujeres Latinas en Estados Unidos, y en el 2001 en la Exhibición de Arte de la Mujer Latina (Weston, Florida) obtuvo el primer premio. Un juego de colores Algo fundamental que también puede apreciarse en la obra de esta caleña es el manejo que le da a las texturas: de acuerdo a diversas técnicas, entre las que se cuentan sus experimentaciones con el acrílico, el óleo y la témpera al huevo, ha logrado insertarlas a las mismas concepciones suyas del espacio. Gruesas y casi olfativas texturas, confirman para el observador que está ante una obra que esencialemente busca provocar a los sentidos; a decir del mismo Castillo :"se percibe un impacto de luz y colores que invitan a la exploración detallada... nos enseña lo bello de las cosas simples, la importancia de gozar físicamente su obra." .......................................................................................................................................................................................................................... El arte contemporáneo
se toma a la capital Ana María Durán Otero Es difícil establecer a qué horas la capital del país despertó de un sueño lento y espeso, en qué momento Bogotá se convirtió en uno de los centros culturales más importantes y reconocidos en América Latina. Durante los últimos años, el movimiento incontrolable de nuevos artistas en el campo de las artes y de la literatura, ha permitido que escritores y artistas alrededor del mundo se sorprendan con una Bogotá más diversa, con una ciudad que ofrece novedosas y destacadas propuestas culturales para todos los gustos. Uno de los certámenes que pertenece, sin lugar a dudas, a este marco multicultural de las artes en Colombia es Artbo, la primera Feria Internacional de Arte en Bogotá, organizada por la Cámara de Comercio. La reunión, con 29 galerías nacionales e internacionales que estarán en el mismo escenario, busca promover el comercio del arte y fortalecer el trabajo de los artistas. Según Andrea Walker, directora de Artbo y del programa cultural de la Cámara de Comercio, “el propósito fundamental es que Bogotá tenga un atractivo más, que se destaque como una ciudad competitiva. Todas las ciudades competitivas tienen su primera feria de arte, y esto genera una actividad muy productiva a nivel de artistas, de galerías y de producción artística”. El proceso de organización y selección de los artistas y de las galerías no fue fácil. Con el intento de ofrecerle al público una selección seria y cualitativa del arte nacional e internacional, la Cámara conformó un equipo con las Galerías Casas Reigner y el Museo de Colombia, y la Galería Malborough de Chile, que escogieron los trabajos de 150 artistas, junto con 16 galerías colombianas y 14 del exterior. CUARTO INTENTO FERIAL A pesar de que este acontecimiento es la Primera Feria Internacional de Arte organizada por la Cámara de Comercio, la idea de crear una feria de arte nació hace 14 años con la Feria Internacional de Arte de Bogotá Fiart en 1991, continuó con Artfi en 1992, a la que le siguió Mirarte en 1996. “Lo que hace diferente esta feria de las anteriores es que es la primera versión de una feria institucional. Buscamos que toda la ciudad se apodere de un proyecto para Bogotá y que se desarrolle todo un circuito cultural para esta fecha”, afirma Walker. Las puertas abiertas a invitados internacionales son un elemento fundamental para esta clase de proyectos, precisamente porque Bogotá, durante los últimos años, se ha convertido en un foco relevante, tanto cultural como artístico. “Uno de los factores que permiten que una feria como ésta se dé en Colombia es el punto geográfico en el que nos encontramos, ya que afuera nos consideran como un lugar estratégico donde convergen todo el mercado sur, centro y norteamericano", finaliza Walker. Informes: Cámara de Comercio de Bogotá. Av. El Dorado 68D-35, piso 2. Informes: Tels. 3830300, 5941000. Exts. 2213, 2218, 2219, 2226. Algunas de las galerías con sus artistas: Galería La Cometa: Carlos Salas, Édgar Negret, Jim Amaral, David Manzur, Saír García, Kindi Llajtu. Quinta Galería: Nicolás Uribe, Susana Mejía. Cu4rto Nivel Arte Contemporáneo: Santiago Baraya, Santiago Forero, Pablo Adarme, Carolina Rojas, Camila Lemoine, Adriana Cuéllar. Arte Consultores: Santiago Uribe, Guillermo Londoño, Jorge Cavelier, Daniela Mejía, Carlos Nariño. Galería Casa Reigner: Edgar Negret, Tata Navia. Galería Good Man Duarte: Sandra Bermúdez, Milena Bonilla, Andrés Duplat, Adriana Duque, Fernando Huia, Elizabeth Vollert. Galería Sextante: Hugo Zapata, José Antonio Suárez. Foro académico “Arte, Mercado, Colección” |
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In the paintings of Tata Navia, chairs signify the absent human. Their legs, seats and backs are designed to hold our human bodies, and when they’re empty Navia’s chairs take on uncannily human personas. They may have recently served their function, but now the chairs assume identities of their own, independent of their former occupants. Each painting is composed like a narrative, and the chairs are social creatures interacting with their own kind of body language. The paintings define a multitude of relationships, situations and occurrences. In each scenario, we can speculate as to who is leading, who is following, who is audacious and who is timid. While each little vignette tells a story of the artist’s own creation, it is the viewer who decides what these works are really about. Whether we see chairs falling to a crashing end, or floating dreamily through the atmosphere depends on what experiences we bring to the act of looking. Navia has honed a language in painting that is unmistakably her own. Essentially each picture is painted with two distinct technical approaches, as the artist juxtaposes her treatment of the subjects to the spaces they occupy. While the chairs are rendered convincingly as present objects, the backgrounds are painted with an ‘all over’ approach in the manner of an abstract expressionist where every square inch is treated with equal importance. The result is an unaffectedly bold contrast between vast expanses of colour, and comparatively small subjects painted with fine brushstokes and meticulous attention to detail. The expanse of space surrounding the chairs works as a visual device that sharply focuses our attention to the small subjects. These are not still life paintings, but micro dramas enacted on a minimalist stage that the artist has carefully set for us. In keeping with theatrical style, Navia’s chairs are illuminated with spotlight brilliance, casting shadows onto a ground that refuses to recede into deep space. Because of its purity and saturation, the fields of colour are not merely relegated to the background, but equal to the chairs in the attention they command. Navia’s colour sits on the surface and fills the canvas rather than giving the effect of emptiness. Instead of appearing frighteningly alone in an empty abyss, the little chair in “Untitled 281” is either levitating or affixed somehow to the punchy red substance of its surroundings. The paintings convey a highly original aesthetic sensibility, bursting with vitality and humour, and the artist’s sincerity is evident in her careful attribution of human traits to each of her devotedly rendered chairs. Navia is continually experimenting with the emotional effects of different colours, the arrangement of her subjects and the canvas size, feeling her way by instinct and infusing her work with a sense of play. Her relentless experimentation keeps the work fresh, and each painting is interesting both in and of itself and also within the larger series. The artist is always looking for new ways to set the stage and we are continually surprised by the diversity of viewpoint, mood and narrative within this unified body of work. “Untitled 305” depicts nine chairs circled together and cropped above their seats and legs. They are like a group of heads huddled together in a hushed meeting, and we view them as though glimpsed through a window or keyhole; we are not seeing the whole picture here. Tata always leaves something to the imagination, and it is the viewer’s delight to fill in the rest of the story. Laura Peturson, Curator, Odon Wagner Gallery, Toronto, Canada |