Women’s History Month: Valeska Soares

Posted on March 12, 2019 by Experiment Station

To commemorate Women’s History Month, The Phillips Collection will be celebrating female and female identifying artists during the entire month of March.

Fainting Couch, Valeska Soares; 2002; Stainless steel, flowers, and textile; 78 3/4 in x 23 1/2 in x 13 3/4 in; 200.03 cm x 59.69 cm x 34.93 cm; Gift from the Heather and Tony Podesta Collection, Washington, DC, 2012

Valeska Soares, Fainting Couch, 2002; Stainless steel, flowers, and textile, 78 3/4 x 23 1/2 x 13 3/4 in., The Phillips Collection, Gift from the Heather and Tony Podesta Collection, Washington, DC, 2012

Valeska Soares (b. 1957, Belo Horizonte, Brazil) is a Brooklyn-based Brazilian sculptor and installation artist. Her work varies with a wide range of materials, such as stainless steel and mirrors, antique books and furniture, chiseled marble, bottles of perfume, and fresh roses and lilies. Most of her experiences stem from her training in architecture as well as minimalism and conceptualism. Her works invite viewers to engage all five senses, evoking the poetic and elusive themes of desire, intimacy, language, loss, personal memory, and collective history. Her conceptual techniques are used to create environments and experiences that are inviting yet disturbing. Some of her works were inspired by her favorite novelist Italo Calvino.

Soares’s Fainting Couch in the Phillips’s collection is a multisensory work that invites visitors to repose on a stainless steel chaise as they take in the heady olfactory notes of real stargazer lilies—60 to 80 blooms in all—which are stored in drawers built underneath the metal seating. In order to maintain the pleasant aroma, the lilies must be replaced on a weekly basis.

Valeska Soares, Fainting Couch, 2002

Soares first achieved international recognition with her participation in the 1995 edition of SITE Santa Fe, shortly after she moved to New York from Brazil. Her works have been exhibited at the Jewish Museum in New York; the Museum of Fine Arts in Boston; the Sharjah Biennial in the UAE, and more.

Women’s History Month: Zilia Sánchez and “La Noche Lunar”

Posted on March 7, 2019 by Experiment Station

To commemorate Women’s History Month, The Phillips Collection will be celebrating female and female identifying artists during the entire month of March. Zilia Sánchez: Soy Isla (I Am an Island)—the Cuban artist’s first museum retrospective—is on view at The Phillips Collection February 16-May 19, 2019.

Visitors with Zilia Sánchez's Lunar works in the Goh Annex Stairwell

Zilia Sánchez, Lunar (Moon), 1985. Acrylic on stretched canvas, 71 ½ × 73 ½ × 14 in. Collection of Ignacio J. López Beguiristain and Laura M. Guerra, San Juan; Lunar (Moon), c. 1980. Acrylic on stretched canvas with custom wooden base, 23 × 21 ¾ × 5 in. Collection of Mima and César Reyes, San Juan. Photo: Rhiannon Newman

The moon (or lunar) is a common theme in the work of Zilia Sánchez. Her Lunar paintings and sculptures bring an elusive, symbolic content to her work. As she recalls her memories of growing up in Havana, she explains, “I cried a lot when I was little and the only way for my mother to console me was to take me outside to see the moonlight.” This soft and calming light when day turns into night continues to give Sánchez a sense of comfort and well-being throughout the years.

The moon universally marks the passing of time and is often associated with feminine principles. With its soft glow, the full moon is a symbol of subtlety, reflection, and quietude. In Spanish, the word lunar has a double meaning, referring to either a mole/beauty mark or to the moon, thereby underlining the synergy of the body and nature, the personal and the cosmic, that is present in many of Sánchez’s works. “Lunares have sensuality and sexuality,” says Sánchez. “They are marks of beauty.” While some of the Lunar pieces emphasize the purity of circular forms in white, blue, and gray, others bear tattoo drawings that trace cryptic trajectories. Reflecting on her Lunar works, Sánchez frequently mentions the Caribbean moonlight—la noche lunar—that brings her tranquility.

Zilia Sánchez, Lunar con tatuaje (Moon with Tattoo), c. 1968/96, Acrylic on stretched canvas, 71 × 72 × 12 in., Collection of the artist, Courtesy Galerie Lelong & Co., New York. Photo: Rhiannon Newman

Women’s History Month: Zilia Sánchez’s “Mural in Cement”

Posted on March 5, 2019 by Experiment Station

Laguna Gardens building with mural by Zilia Sánchez

Essentially an architectural painting, Zilia Sánchez’s Mural in Cement, created in 1971, is a modular, relief-like structure built on the facades of two condominium buildings in Laguna Gardens, a housing complex near San Juan, Puerto Rico. Using fiberglass molds that she fills with cement, Sánchez creates the mural’s abstract bodily forms and paints them white, similar to her erotic topologies. Commissioned by Henry Gutierrez, a Cuban architect-developer living in Puerto Rico, the project enables her to continue making art and to settle on the island.

Sánchez says of her mural: “I have always been interested in architecture and wanted to study it. I started taking courses in linear drawing at the university, where they focused a lot on mathematical constructions. However, when the Revolution happened and the university closed, I never got to pursue an architectural career. But yes, I really liked it. When I was in Puerto Rico I made a mural in Laguna Gardens and planned it myself. I even made the molds, first out of canvas and then turned them into concrete. My paintings have an architectural element as well: the three dimensionality. The affinity to architecture is something that has always been inside me, it is something instinctive.”

Detail of mural

Zilia Sánchez standing next to her mural