ABOUT THE ARTIST
For One After Another, Saul Sánchez continues his investigations around the objects, concepts, and entities that are assumed to be inherent to the painterly process. In One After Another, Sánchez alludes to the recurrence of already historicized theories and aesthetics since Suprematism; respectively, Sánchez develops his own visual language anchored on Constructivist dialects around form and surface. For his current exhibition, Sánchez restricts his material of analysis to linen canvases and his elements of composition to the straight line – opting for horizontal and vertical positions only. Reflecting on the influence that Concrete art’s appearance and concepts had on later manifestations of abstract art, including Op-art and Hard-Edge painting, Saul Sánchez utilizes the square, repeatedly, as a reference to the historical traditions he is addressing.
Each canvas contains a quadratic shape, which is repetitively spray-painted with blue. Sánchez’s takes advantage of trompe-l’oeil to speak about painting in relation to time and distance: two different approaches in terms of process. Through this technique, Sánchez constructs a deceptive perimeter with traces of tape and spray-paint; in which case, the square’s edge is built discontinuous, physically and temporally, with parts entering and exiting. The positive square is inexistent. The idea of the square, from a purely lexical perspective, winds up being basically ambiguous; the illusory edge of the square is irregular, not the square in itself. In every painting it is imperative to recognize that even if the painted form is nebulous, in the end, the form is intuitively clear. Saul communicates the idea of the painted object – the canvas- and that of the painted subject -the surface
In Square with Ultramarine Blue Paint I, Sánchez structures a line of canvases with minimalist rhythm. A progression of nine paintings appears quasi-identical; however, through a thorough observation, the subtle nuances in each canvas become noticeable. The viewer interacts with a final object that, in itself, suggests the systematic serial processes since the conception of the oeuvre by the artist.
In One After Another, Sánchez explores the concept of repetition not as limited change within a pattern, but as an incessant permutation of possibilities given by a limited repertoire of forms. Square with Ultramarine Blue Paint I, Square with Ultramarine Blue Paint II, and Square with Ultramarine Blue Paint III, are positioned at a relational distance to one another; each canvas constructs the wholeness of one spatial composition. Like three components on a score, each painting orchestrates the viewers’ course. Based on its own aesthetical distinctions, each oeuvre reverberates a dissimilar tempo, which is set by the viewer’s phenomenological decisions along the space. In Square with Ultramarine Blue Paint II, Sanchez echoes the compositional structure through Square with Ultramarine Blue Paint I. Moreover, the process of construction in both Square with Ultramarine Blue Paint I and Square with Ultramarine Blue Paint II is analogical to Square with Ultramarine Blue Paint III: each canvas preserves the repetition of a same singular unit, again, and again, in a serial mode. Thus, in every work there is a clear emphasis on the procedure, which refers not to each singular object at sight, but to the actions and temporality involved in the formation of all objects as an entirety.
For One After Another, Saul emphasizes the reiteration in the construction of his paintings, both individually as well as a compositional whole. Sanchez’s interest in repeating a technical strategy while pursuing the same conceptual precept denotes the recycling of historical aesthetics that he is suggesting. In One After Another, Saul Sánchez questions our imaginary of what signifies to paint. Extending specific epochs, in each of Sanchez’s paintings, there is a trace of something that endured and of something that will prevail.
Saul Sanchez Lives and woks in New York Education 2016 MFA in Fine Arts, Parsons The New School, New York, USA 2005 BFA. Academia Superior de Artes de Bogotá ASAB. Bogota, Colombia Solo Exhibitions 2015 “One After Another” Praxis, New York, USA 2015 “One after another in succession” Nueveochenta Arte Contemporaneo, Bogota, Colombia 2013 “No se dice nunca lo mismo” Nueveochenta Arte Contemporaneo, Bogota, Colombia 2011 “Pato o Conejo” Solo Project, Arte Santander 2011, Santander, Spain “Pato o Conejo” Espacio ANEXO, Espacio Mínimo Gallery, Madrid, Spain “Pato o Conejo”. NueveochentaArte Contemporaneo, Bogota, Colombia 2010 “Regla de Tres” Arróniz Arte Contemporaneo, Mexico City, Mexico 2009 “Regla de Tres” NueveochentaArte Contemporaneo, Bogota, Colombia 2008 “YOU ARE HERE” Centro Colombo Americano de Bogota, Colombia “YOU ARE HERE, VOUS-ÊTES ICI, USTED ESTA AQUÍ” Alianza Francesa de Bogota, Colombia “YOU ARE HERE”. Museo de Arte Moderno de Pereira, Colombia 2007 “YOU ARE HERE”. Nueveochenta Arte Contemporaneo, Bogota, Colombia 2006 “Expansion y Contraccion de un Espacio Vacio”, Young Artists Cycle, Alianza Francesa de Bogota, Colombia 2005 “I-Real” Sala Alterna Galeria Santa Fe IDCT, Planetario de Bogota, Colombia “I-Real - Local in-nobiliaria” Centro Cultural Universidad de Salamanca, Bogota, Colombia 2004 “Dislocaciones” Centro Cultural Universidad de Salamanca, Bogota, Colombia “Una Noble Causa” Galería El Garaje, Bogota, Colombia Selected Group Exhibitions 2015 Dialogos con La Coleccion, Museo de Arte Moderno de Bogota, Colombia Aurora 2015:All Together Now, DMA Dallas Museum of Art, USA Action Field Kodra 2015 –ERROR, Municipality of Kalamaria, Thessaloniki, Greece A False Horizon: Art from Latin America, Peana Projects, New York, USA 2014 Textos Audibles, Visibles, y Legibles, Santa Fe Gallery, Bogota, Colombia 2013 Naturaleza Desmaterializada, NC arte, Bogota, Colombia 2012 Escapando con el Paisaje, Collateral Exhibition to the 11th Havana Biennial, Provintial Arts Center, Havana, Cuba Yo, Chango, Border, Mexico City, Mexico 2 Premio Bienal de Artes Plasticas y Visuales, Gilberto Alzate Avendaño Foundation, Bogota, Colombia Espacios Quebrantados, Arroniz Arte Contemporaneo, Mexico City, Mexico 2011 On the territory: Contemporary art in Colombia, Santral and Istanbul, Turkey On the territory: Contemporary art in Colombia, CerModern, Ankara, Turkey 42 Salon Nacional de Artistas, Cartagena, Colombia Un Territorio en Puntos Suspensivos, Diego Rivera House Museum, Guanajuato, Mexico 2010 Lenguajes del Papel, El Museo Gallery, Bogota, Colombia Ultimas Adquisiciones de la Coleccion del Banco de la Republica, Bogota, Colombia. Dorado, Platform for Art Interventions, International Art Foundation, Madrid, Spain 2009 Preambulo, XIII Salon Nacional de Artistas - Central Region, Tunja, Colombia 2008 X. Nueveochenta Arte Contemporaneo, Bogota, Colombia Siguiente Por Favor, Nueveochenta Arte Contemporaneo, Bogota, Colombia Viajeros,Museo de Arte Moderno de Medellin, Colombia 2007 Bi-dimensional Art Salon, Gilberto Alzate Avendaño Foundation, Bogota, Colombia Pintura Fresca, Arte Cámara. Camara de Coemrcio de,ç Bogota, Colombia Fotografica Bogota, Desbordando la Objetividad, Museo de Bogota, Planetario de Bogota, Colombia Al Agua, Nueveochenta Arte Contemporaneo, Colombia 2006 Pintura Sea lo que Sea, Cu4rto Nivel Foundation, Bogota, Colombia Arte joven 2006, Museo de Arte Moderno de Bogota, Colombia 2005 Lugar- No lugar - New Names Program, Luis Angel Arango Library, Banco de la Republica, Bogota, Colombia II Bi-dimensional Art Salon. Gilberto Alzate Avendaño Foundation, Bogota, Colombia RELACIONAL. Galería Santa Fe IDCT, Planetary, Bogota, Colombia 3 Propuestas Pictoricas, El Museo Gallery, Bogota, Colombia Practicas Artisticas de lo Popular al Arte, ASAB, Bogota, Colombia 2004 XII Concurso Nacional de Pintura BBVA, Luís Angel Arango Library, Bogota, Colombia Distinctions and Awards 2014-2016 Fulbright Scholarship. 2013 Honorary Mention. VI Bi-dimensional Art Salon. Gilberto Alzate Avendano Foundation, Bogota, Colombia 2010 Artist Pension Trust. New York. 2006 Young Artists Cycle Award, Alianza Francesa de Bogota, Colombia 2005 Honorary Mention. La Libertad Guiando al Pueblo. Embassy of France, Bogota, Colombia Honorary Mention Concurso Nacional de Pintura BBVA, Bogota, Colombia 2004 Scholarships and Awards for the Arts 2004, Planetario de Bogota, Colombia Publications 2015 Procesos de Pintura, Revista Exclama, http://www.revistaexclama.com/arte/procesos-de-pintura/ 2014 Saul Sanchez, De Ser Pintor, Nicolas Gomez Echeverri, Nueveochenta en la Red http://issuu.com/nueveochentaenred/docs/sa__l_s__nchez_en_red 2011 Contemporary Painting in Latin America, Edward Shaw, Celfin Capital, Chile Mundo Magazine No 40, Encuentros y Desencuentros, pag 50-51, Colombia 2012 Nomadas Magazine No 32, Jaime Ceron, Universidad Central, Colombia http://www.scielo.org.co/scielo.php?script=sci_arttext&pid=S0121-75502010000100013 Living Art Room Magazine No 04, Mexico http://issuu.com/livingartroom/docs/larmagazine004 2009 Art Nexus Magazine No 119, pag 96- 97, Maria Jose Ramirez, Colombia Cara a Cara con Saul Sanchez, Revista Exclama. http://www.revistaexclama.com/arte/cara-a-cara-con-saul-sanchez/ Public Collections PAMM, Pérez Art Museum Miami, Miami, USA Sayago & Pardon Collection, San Diego, USA Biblioteca Luis Ángel Arango - Museo de Arte del Banco de la República, Colombia Centro Colombo Americano de Bogota, Colombia