I use abstraction in my work as a means to connect the physical with the imaginary; what is felt in the history of our bodies. My practice is about my relationship with spirituality. I am interested in ashé (vital natural energy) and the many forms of potential that art can have. In my practice, I process the histories and lived experiences of my culture through my own form of visual codification using the language of painting and abstraction.
My work is composed of paintings made on tense and loose surfaces such as silk, paper, and quilted forms. I collage the these with other visceral materials like wood, metal, glass, beads, allowing me to create a visual creolization of material histories. The works hang, sag, become suspended, fall onto the floor, tear, bisect planes, and at times, become performing objects on their own. The physical objects informs my performance practice, which expands on my research of the material histories, the oral histories of movements, and the effect of ancestry and nature on the body. I see these two projects as symbiotic spatial experiences. I am interested in the phenomenology of both color and symbols as they relate to how our bodies process forms of spirituality. My work questions the physicality of the wall and the ways in which bodies interact with architecture and nature.
María de los Angeles Rodríguez Jiménez (she/her) received her BFA from The Cooper Union for the Advancement of Science and Art in 2015 and MFA in Painting and Printmaking from Yale University in 2020. Rodríguez Jiménez has participated in residencies such as the Skowhegan School for Painting and Sculpture (2016), SOMA Summer (2019) and Pivô Arte e Pesquisa (2023). Her work has been exhibited in institutions such as the High Museum of Art (Atlanta, GA), the Frost Art Museum (Miami, FL), and The Alabama Contemporary Art Center (Mobile, AL), among others. She was a recipient of The Fulbright Research Fellowship (2021) and the NYPL Jerome Robbins Dance Fellowship (2022), where she collaborated with Candomblé dancers and practitioners in Brazil. She currently lives and works in Queens, New York.
My work is composed of paintings made on tense and loose surfaces such as silk, paper, and quilted forms. I collage the these with other visceral materials like wood, metal, glass, beads, allowing me to create a visual creolization of material histories. The works hang, sag, become suspended, fall onto the floor, tear, bisect planes, and at times, become performing objects on their own. The physical objects informs my performance practice, which expands on my research of the material histories, the oral histories of movements, and the effect of ancestry and nature on the body. I see these two projects as symbiotic spatial experiences. I am interested in the phenomenology of both color and symbols as they relate to how our bodies process forms of spirituality. My work questions the physicality of the wall and the ways in which bodies interact with architecture and nature.
María de los Angeles Rodríguez Jiménez (she/her) received her BFA from The Cooper Union for the Advancement of Science and Art in 2015 and MFA in Painting and Printmaking from Yale University in 2020. Rodríguez Jiménez has participated in residencies such as the Skowhegan School for Painting and Sculpture (2016), SOMA Summer (2019) and Pivô Arte e Pesquisa (2023). Her work has been exhibited in institutions such as the High Museum of Art (Atlanta, GA), the Frost Art Museum (Miami, FL), and The Alabama Contemporary Art Center (Mobile, AL), among others. She was a recipient of The Fulbright Research Fellowship (2021) and the NYPL Jerome Robbins Dance Fellowship (2022), where she collaborated with Candomblé dancers and practitioners in Brazil. She currently lives and works in Queens, New York.
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telephone +1 305 573 8110
info@davidcastillogallery.com
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