Glexis Novoa

...because open source matters

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Generic landscapes 'Selected works 1998-2001' (personal exhibition) at Farside Gallery, Miami, Florida, October 2 - 29, 2010.

Glexis Novoa y el acierto de sus ficciones urbanas; by Adriana Herrera | El Nuevo Herald, Miami.

Artists Statement | Generic Landscapes
As in all art media, whether design or architecture, in my work prevails a substantial structure defined by the drawing, symbols related to the graphics, characters, signs, etc. are the protagonists of the landscape -the emphasis on urban architecture is introduced as a reference to a landscape of events.Back in 1993, while engaged in a conversation with artist Silvia Gruner (1959) during her visit to my studio in Mexico City, we analyzed my artwork in progress, "Calle 76 # 29B06" (1994).  At that time, I was initially drawing on the canvas with pencil and then filling  the spaces with color.  Gruner stressed the effectiveness in the result of using graphite on canvas.  While meditating on this, I stopped working on the piece and rolled up the canvas only to finish it several months after settling down in the northern city of Monterrey. "Graphite on canvas" was defined as the medium to embrace. My investigation has continued since then.

"Waterfall" (1998), literally describes a journey (Monterrey-Havana-Miami-Maine).  In "Area 212" (1999) the representation of time is equated to the effects of a catastrophe,  which in this case, a disaster in the downtown area of Manhattan is described. "... An aircraft approaches the large structures, traces of a huge explosion are evident, small silhouettes mixed with debris fall from above and pieces of paper fly aimlessly in the air.  In one of them there is an evident reference to a Western religion ... "

The automobile, the quintessential American icon, awakens in me a special attraction. The use and vital relationship with this artifact leads me to investigate it from the inside.  While visiting junkyards I discovered that life after their useful lifespan, their "eyes" still  retain energy. The sophisticated appearance of the windows of cars inspire a work in which I disclose my status by selling my own car (a 1980 Plymouth Reliant), at the entrance to the Museum of Art Fort Lauderdale during the exhibition Publickulture (2001); subsequently,  the windows were removed and placed in another section of the installation, integrating and defining the form of a drawing on the wall.  "Untitled" (2001) on canvas was later created in a version of the same concept.

The selection of artwork for this exhibit brings together key works:  examples that have defined my perception of the specifics in an experience open to the assimilation of transformation - the landscapes are ours while we are in them.

Glexis Novoa
Miami, September 11, 2010