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TRIADA
ADRIANA CORDERO P.R
LIA VILLACORTA
MARJORIE HERNÁNDEZ
Press
El Comercio-"El Dominical", 04-10-2006
El Comercio-"El Dominical", 01-10-2006
Boletin de la Municipalidad, October 2006
Caretas, 28-09-2006
El Comercio, 06-10-2006
Expreso, 03-10-2006
PuntoEdu
Presentation
TRANSFORMACIONES
Es interesante observar cómo los procesos se han convertido en parte de las propuestas del arte contemporáneo, y resultan en gran medida ser un mecanismo que no sólo representa una necesidad catártica sino además el auto cuestionamiento personal y el cuestionamiento que va por el lado extra personal, definitivamente todos estas causas se convierten en el móvil en todo proceso de cambio.
Fernando Pessoa al igual que Borges, se refirieron de la ficción que existe en sí misma al abordar el tema de la identidad, el reconocimiento de uno mismo en el autorretrato, en ese enfrentamiento cotidiano ante el espejo, medio a través del cual Lewis Carrol explicaría de manera simbólica aquel juego de la mente humana de pasar de la realidad a la fantasía o de la razón a lo imaginario.
Resulta que al hablar de propuestas como la del colectivo Triada, integrado por Adriana Cordero Pérez-Rosas, Marjorie Hernández Aliaga y Lía Villacorta Bravo, los resultados son “abiertos” que transitan más por el lado del lenguaje y su mensaje, íntimamente ligada al material y al proceso experimental de trabajo, que por el lado de lo estético.
El trabajo de Adriana cuestiona justamente la relación madre-hija y los patrones que en esta relación, se van forjando y transmitiendo (como en sus planchas de metal corroídas) las estructuras de comportamiento femenino y maternal, herencia que muchas veces termina marcando a la persona. Lía conversa con el material, haciendo de sus soportes (la madera o el papel) en su diario íntimo que va registrando sus emociones o sus estados psíquicos a través de la línea, incisa o dibujada. Marjorie por el contrario se expone de manera directa, mediante la imagen fotográfica, explorando el lenguaje del diseño gráfico, otorgándole cierta ruptura con la inserción de textos que terminan conduciéndonos hacia su espacio interior, una relación construida entre el reconocimiento desde el cuerpo mismo.
El reto de ellas es tratar de involucrar al público y generar esta especie de simbiosis entre obra y espectador...
Juan Peralta
Septiembre del 2006
Es interesante observar cómo los procesos se han convertido en parte de las propuestas del arte contemporáneo, y resultan en gran medida ser un mecanismo que no sólo representa una necesidad catártica sino además el auto cuestionamiento personal y el cuestionamiento que va por el lado extra personal, definitivamente todos estas causas se convierten en el móvil en todo proceso de cambio.
Fernando Pessoa al igual que Borges, se refirieron de la ficción que existe en sí misma al abordar el tema de la identidad, el reconocimiento de uno mismo en el autorretrato, en ese enfrentamiento cotidiano ante el espejo, medio a través del cual Lewis Carrol explicaría de manera simbólica aquel juego de la mente humana de pasar de la realidad a la fantasía o de la razón a lo imaginario.
Resulta que al hablar de propuestas como la del colectivo Triada, integrado por Adriana Cordero Pérez-Rosas, Marjorie Hernández Aliaga y Lía Villacorta Bravo, los resultados son “abiertos” que transitan más por el lado del lenguaje y su mensaje, íntimamente ligada al material y al proceso experimental de trabajo, que por el lado de lo estético.
El trabajo de Adriana cuestiona justamente la relación madre-hija y los patrones que en esta relación, se van forjando y transmitiendo (como en sus planchas de metal corroídas) las estructuras de comportamiento femenino y maternal, herencia que muchas veces termina marcando a la persona. Lía conversa con el material, haciendo de sus soportes (la madera o el papel) en su diario íntimo que va registrando sus emociones o sus estados psíquicos a través de la línea, incisa o dibujada. Marjorie por el contrario se expone de manera directa, mediante la imagen fotográfica, explorando el lenguaje del diseño gráfico, otorgándole cierta ruptura con la inserción de textos que terminan conduciéndonos hacia su espacio interior, una relación construida entre el reconocimiento desde el cuerpo mismo.
El reto de ellas es tratar de involucrar al público y generar esta especie de simbiosis entre obra y espectador...
Juan Peralta
Septiembre del 2006
Adriana Cordero P.R
One of the most important qualities of human beings is their capacity to take on long term relationships of every kind. These are absolutely necessary for survival. Human relationships can take many forms. The ones that produce the most pleasure and sometimes the most pain, are the ones related with family, friends and loved one. Within that close and personal circle, we are left bonded to each other with an emotional adhesive. It is in this way that our bodies (physical and spiritual) have endless limits. For example, the stages can surround different times in our lives and, after death, we can be reborn.
After being wounded by diverse experiences in our lives, we have to learn to live with the scars these wounds produce. We can even learn to love scars as they become new parts in us. This is how we start to transform, sometimes without realizing it. I see my scars as the representation of the pain that is needed in order to evolve; to grow as a person in a positive way.
The prints produced by the acid on metal are the metaphor of this. I decided to use black as fund color as it is an absolute color which represents absolute passivity. This state of death is broken by the grey characters that are meant to represent resurrection from death. Grey stands as a mediating color, like a passage from a complementary color which is the black to another stage. Three figures, three women become three parts of me. They represent the one only Adriana. They all represent an awakening, a resurrection after being in a state of comma. Three levels in the cosmos, each one represents the stage of the whole. If one of these three is missed then there is no completeness. I enjoy that there is not only one of them anymore, they all stand together.
These characters are the Child/Faith, the Women/Hope and the Mother/Charity
The Child/Faith or `it` -in Freudian terms- is the representation of the beginning or of the primary time of anything, of inexperience, of youth. In this stage we can find faith as I believe that it is faith that is the origin of the founding of beliefs. Faith initiates a relationship with others.
The Mother/Charity or `Super I` -according to Freud- is the one who has given birth, it is women with respect to her children; the matrix where we belong. In the Mother there is virtue which makes us love our surroundings now that we all are a part of her. She is who establishes norms, she who criticizes us and questions us.
The Women/Faith or ‘I’ -in Freudian terms- it is she who has arrived to a certain adult stage or puberty, for that, she has more experience. She is the will behind the faith. She encourages us to continue looking and it is she who makes us follow our path in spite of the pain. She is the `I` as she equilibrates the mother and the child.
I chose a female character because I am speaking about myself and because it is a woman who is the matrix of my life.
Adriana Cordero P.R
October 2006
After being wounded by diverse experiences in our lives, we have to learn to live with the scars these wounds produce. We can even learn to love scars as they become new parts in us. This is how we start to transform, sometimes without realizing it. I see my scars as the representation of the pain that is needed in order to evolve; to grow as a person in a positive way.
The prints produced by the acid on metal are the metaphor of this. I decided to use black as fund color as it is an absolute color which represents absolute passivity. This state of death is broken by the grey characters that are meant to represent resurrection from death. Grey stands as a mediating color, like a passage from a complementary color which is the black to another stage. Three figures, three women become three parts of me. They represent the one only Adriana. They all represent an awakening, a resurrection after being in a state of comma. Three levels in the cosmos, each one represents the stage of the whole. If one of these three is missed then there is no completeness. I enjoy that there is not only one of them anymore, they all stand together.
These characters are the Child/Faith, the Women/Hope and the Mother/Charity
The Child/Faith or `it` -in Freudian terms- is the representation of the beginning or of the primary time of anything, of inexperience, of youth. In this stage we can find faith as I believe that it is faith that is the origin of the founding of beliefs. Faith initiates a relationship with others.
The Mother/Charity or `Super I` -according to Freud- is the one who has given birth, it is women with respect to her children; the matrix where we belong. In the Mother there is virtue which makes us love our surroundings now that we all are a part of her. She is who establishes norms, she who criticizes us and questions us.
The Women/Faith or ‘I’ -in Freudian terms- it is she who has arrived to a certain adult stage or puberty, for that, she has more experience. She is the will behind the faith. She encourages us to continue looking and it is she who makes us follow our path in spite of the pain. She is the `I` as she equilibrates the mother and the child.
I chose a female character because I am speaking about myself and because it is a woman who is the matrix of my life.
Adriana Cordero P.R
October 2006
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