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ANA VERNIA Burriana, Castellón, 1976.

And early career

Nace en Burriana (Castellón), en 1976. Licenciada en Bellas Artes por la Universidad Politécnica de Valencia (Facultad de Bellas Artes). Ha realizado estudios en la Accademia Albertina delle Belle Arti en Turín (Italia), y estancias en Francia, Inglaterra y Estados Unidos, que han contribuido a madurar su lenguaje plástico. Actualmente tiene el estudio en Valencia, donde prepara nuevos proyectos. En su todavía breve trayectoria artística, ha realizado diversas exposiciones individuales y colectivas, en galerías y fundaciones, como la Galería Evelyne Heno de París, el Museo Centro del Carmen de Valencia, La Fundación Frax de Alfás del Pí (Alicante) o el Museo de Bellas Artes de Castellón, entre otros. Ha ganado recientemente el Premio Nacional de Pintura de la Real Academia de Bellas Artes de San Carlos de Valencia y su obra ha sido reconocida también con el Primer premio en el Salón de Otoño del Ateneo Mercantil de Valencia en su edición de 2014. En 2012 obtuvo la Beca Hábitat Artístic Castelló que le permitió desarrollar un proyecto expositivo durante varios meses, y ha sido seleccionada en la 75 Exposición Internacional de Artes Plásticas de Valdepeñas (Ciudad Real), entre otros reconocimientos. Su obra forma parte de colecciones e instituciones como la Real Academia de Bellas Artes de San Carlos en Valencia, el Museo del Calzado de Elda (Alicante), el Ateneo Mercantil de Valencia o la Fundación Gaetano Morguese en Bari (Italia).

Cuadro ana vernia valencia

Shiras Galeria Ana Vernia

N9 Ana vernia cuadro Valencia

Shiras Galeria

The last gathering. Those echoes of reality

Echoes of a past reality are glimpsed in the paintings of Ana Vernia where through "The last tertulia", she reveals the problems of communication, silence and the difficulty involved in finding it in our current cybernetic society, now definitely away from those already romantic gatherings described, for example, by an ironic Francisco Umbral in "The night I arrived at Café Gijón." From the beginning of the century until the Second Republic, gatherings proliferated in cafes, and among them those that took a certain political and cultural bias with painters, writers, artists and intellectuals of all kinds. In the cafes there were gatherings of poets, there were actors, painters ... There was a row of regulars, arriving from the blurred confines of any city by tram, or whatever, who only needed to sign in and out. And there were the others, the occasional ones. In the cafes the art of oratory and dialectics was cultivated –amena chat-, where either puyas in the Valle-inclanesco style could be interspersed, or flattery sweetened with sarcastic displays of wit was given.
Today those spaces have been sacrificed by the noise society, the excess of information entails a blockage and the informational fallacy that runs through social networks is known by all. The dialectic has been sacrificed and its main features amputated: In this sense, the unity between pictorial theory and practice, the search for the whole and its internal contradictions, the conflict or deployment of opposites, the constant change through different dialectical perspectives Through the use of drawing and painting are themes that we find in the works of the painter.

Cuadro n8 ana vernia

Ana Vernia Cuadro

Ana Vernia Exposicion la ultima tertulia

galeria de arte en valencia

Ana Vernia ironiza sobre el actual bloqueo de la comunicación y la necesidad del silencio para la contemplación artística mediante una cuidada utilización de reconocidos mecanismos estilísticos de su pintura y el ambivalente dominio de esta dialéctica: desde el metódico y artesanal uso de las técnicas de montaje y ensamblaje pictórico mediante el manejo de una serie de personajes fantásticos que parecen salidos de un cuadro de Hyeronimus Bosch o de una novela de Orwell, hasta el objetivo teórico al que sirve, a saber, la crítica social o la necesidad de dar a conocer al espectador sus intenciones sobre el peligro que corremos con las redes sociales y el ruido que producen. Aquí, su efecto inasible es como el parpadeo de un gran montaje cinematográfico artesanal y analógico donde los fotogramas encadenados a través de la serie de “paisajes líquidos” han sido editados para perdurar un instante efímero en la consciencia y en la memoria de quien lo ve, como flashes imperceptibles y materiales al mismo tiempo. Incluso si han sido elaborados como pentimenti y capas superpuestas, estos pasajes líquidos de la historia, no es menos cierto que pueden coger su propio camino en una clase de disyunción mediante una suerte de pintura alla prima sobre el lienzo en blanco, como pintados de un trazo. Como chispazos, relámpagos, iluminaciones súbitas, haciéndonos rastrear mediante la dialéctica su propia vida futura en lo posmoderno. Pero más que un método o una receta pictórica constante a lo largo de su trabajo, se trata más de un no-método donde lo espontáneo y accidental también está presente. Pintora libérrima y controladora al unísono, la extrañeza de la vida cotidiana es vislumbrada de este modo.
The position in which his artistic production is characterized by a certain postmodernism exemplifies this pictorial sense. This is the case, for example, of the revivals of aesthetic modernism in contemporary art or even in everything that sounds retro in mass culture; These artifacts manifest a representation of modernism (I clarify that modernism here should not be understood in the Spanish sense of the term, but rather as the Anglo-Saxon modernism of a renewal of perception and aesthetics), in terms of their ability to produce a truth more compact, from top to bottom, it is transfigured into criticism, painting in that (modern) way very close to the Anglo-Saxon world, traveling adjacent roads, detours, side escapes, to pose questions of the type what does this mean? or what is the idea behind this work?

Ana vernia valencia

Galeria Valencia arte Ana vernia

ana vernia cuadro en shiras galeria

Pintora ana vernia cuadro

Ana Vernia's images are forceful, leaving us surprised by this forcefulness with her particular use of color. In his iconic repertoire, the sweetened thing predominates through a constant chromatic use of pastel shades. His pictorial representations evoke mysterious romantic allegories by expressive concession and a taste for the enigmatic. But from the anecdotes and social and communicative concerns an allegorical meditation arises with the use of strange characters immersed in a particular landscape. Meditation on poetry and painting, on life and art. Meditation on the weakness of living beings, the final triumph of silence for contemplation. Some of the paintings could even be interpreted as a sort of hieroglyphics from the end: Like the main work and which gives the exhibition its title, "The Last Tertulia."
As a rigorous complement to the splendid series of paintings, and another way of exemplifying his conception, experimentation and plastic expressiveness beyond the limits of the canvas, the last part of the exhibition is dedicated to a series of sculptures made in ceramic. In this series, Vernia extracts some characters from her paintings, establishing a fascinating counterpoint between the graphic and the three-dimensional, between the figurative and the abstract. But where the lyricism of its chromaticism remains constant through the material use of ceramic. However, Ana Vernia's characters do not produce noise, they coexist harmoniously in a characteristic landscape, a peculiar environment where the sensory enriches our perception and where silence favors contemplation once again. A place open to dialogue and dialectics like those sacred literary cenacles, the only ones where literary and artistic gatherings lived, immune to sociocultural cataclysms, remaining once again faithful to their rites and forms.Rosa Ulpiano text

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