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Ceramics work |
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Karla Rojo M. Zacatecas, México 1980.
As prologue to my artist sensitivity and my aesthetics creativity development, I have fed through different classes, courses, workshops, congresses, talks, readings, which took me to close my previous work and deciding to initiate myself professionally. Also dedicated to cultural and visual art promotion. Works in series and commisions. Granted for a scholarship by the International Contemporary Printing Center in Spain and the Goverment of Zacatecas in 2008. She has exhibit her work in México (Zacatecas- 2005, Querétaro- 2008), España (2006), Francia (2007) y Portugal (2008).
Professional Development .
□ I begin with my visual artist project in 2002 in a self-taught way. □ The first step was carrying out drawings, sketches, and some small size paintings without a relevant subject, but with the intention to improve the trade practice, mainly drawing. □ This is a very intense stage of skills and basic training recognition, about searching directionality in a very instinctive work.
□ A year later I start the Living and Death series. □ This work was a formal search and experimentation with chromatic composition, space working in an allegoric context. □ The allegories are not only in characters but also in the great quantity of decorative elements which are the space composition itself. □ This series emerges, in big measure, from the study about forms and spatial compositions overcrowded with figures, elements and symbols of some art nouveau pieces, secession period, mainly from the painter Gustav Klimt, in the human figure integration with symbolic elements that flood the complete space, the hair game, the body gestures in a same rhythm, and in the way how work is enriched thanks to the previous multicolour layers which makes the eye to perceive only a colour in the final result. □ Even in this series my work start directing to a primordially discursive study, of chromatic and movement perception in the ornamental elements, finishing lying in the decorative and harmonious speech only. □ This took me to reduce the elements and quantity elements, beginning the Characters series, where I highlight human figure drawing in characters who represent philosophical subjects in a position game.
□ In 2005 we moved to Galicia. □ This change of context was printed in my work too. □ I make the White Stage beginning with Couples series. □ There is a formal rupture in colour composition and figures overcrowded, palette turns into a harmonious range of whites at background, and human figure a little stylized become in the artwork central element. □ Under a simpler subject I’m exploring in this new way where my work is directing, very from the Egon Shiele artwork study particularly in his drawings (watercolour and pencil on paper), to well defined lines a little deformed, sober in colour and rescuing especially the ochre, maroons, black and white palette from his landscapes. □ It’s in this same period where Eduardo Urbiola, my husband and I started in our visual art spread and promotion, being convinced of this nobler work and next with businesspeople and members of society, we created the Fundación Rojo Urbiola, AC (Rojo Urbiola Foundation) which active and directly has been enriching my professional work. □ Under the same tenor, I start the most recent series in this stage, Living Histories, the second series of the White stage, but containing a more mature work, with a wider look focus to other possibilities. □ In this second series the characters, more independent, leave to be representative, leave posing, rather they’re immerse in a cotidianity where I catch them aesthetically in one single image. I reduce even more the painting to a almost monochromatic range of colours .
□ In the second semester of 2007 I begin the series First Chapter portrait based on the impressive experience of maternity, a series of children portraits personifying the first chapter of a story. In these portraits I looked for emphasize the drawing line, declaring in a very tenuous way the pictorial shadows game, taking to the characters like a binnacle of my experience and counterpoint of the previous series where the transcendental characters were the old people.
□ 2008 start with the series titled Lives Lines, throwing a look towards how our lives are interlaced like thread hanks, in the game to romp, to tie and to unknot those threads that represent different characters, we, this series are born already in Betanzos, watching from my window people rambling by the main square of the town. □ I was looking here for majors possibilities in the chromatic manipulation, in a more practical way, faster, where the character was just like shades, leaving liberties in the directionality of the work cobeing contiguous with the abstraction.
□ In 2008 I ramble a little by the printing territory being useful the scholarship that I grant the foundation ciec. □ This period was completely experimental and with total opening to discover new possibilities even in my pictorial speech. □ It was in the xilography where I found that way that I can’t finish to discover yet; work with the wood, trim it, work it, manipulate it, It takes me not only to let the figure, and to retake it in a romantically speech again, obtaining textile textures in the printing, but it transfers me also to the inclusion of wood in my pictorial work. □ 2009 faced me to a new reality in my daily life, which left me to work with ceramics.□ I took the technique to give continuity to " my Walks" turning them into Walks in ceramics, making suits with the mud.
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Bio |
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Links |
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Centro Cultural del México Contemporáneo Museo de Belas Artes da Coruña
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Web site designed by Karla Rojo, hosted by midphase.com |
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