Chapter 1
Nancy Friedemann-Sánchez Chapter 1 mixed
Chapter 1
2013-2014
mixed
varies



Nancy Friedemann-Sánchez Chapter 1 insulation material, oil stick
Funerary Urns
2013-
insulation material, oil stick
varies

Nancy Friedemann-Sánchez Chapter 1 pearls, dibond panel, lamp
Self-Portrait with Papaya
2013
pearls, dibond panel, lamp
4' x 6'

This piece is about femininity, beauty, sexuality and death...all encrusted in history and patriarchy. I used car paint on dibond and created a lamp/fruit like form made of fresh water pearls.
Nancy Friedemann-Sánchez Chapter 1 pearls, dibond panel, lamp
Self-Portrait with Papaya
2013
pearls, dibond panel, lamp
4' x 6'

Close-up

Nancy Friedemann-Sánchez Chapter 1 pearls, dibond panel, lamp
Self-Portrait with Papaya
2013
pearls, dibond panel, lamp
4' x 6'

Close-up
Nancy Friedemann-Sánchez Chapter 1 enamel on dibond
Mimesis
2013
enamel on dibond
4' x 6'

Nancy Friedemann-Sánchez Chapter 1 enamel on dibond
Mimesis
2013
enamel on dibond
4' x 6'
Nancy Friedemann-Sánchez Chapter 1 4' x 6'
Mimesis
2013
4' x 6'
enamel on dibond

Nancy Friedemann-Sánchez Chapter 1 enamel on dibond
Mimesis
2013
enamel on dibond
4' x 6'
Nancy Friedemann-Sánchez Chapter 1
Installation View
2013-

Nancy Friedemann-Sánchez Chapter 1 acrylic on canvas
Leaning Chumbes
2014
acrylic on canvas
85" x 5" x 3"

Chumbes are belts of the Guambiano an indigenous community in Colombia. This a region now plagued by guerrilla and paramilitary conflict. These traditions are oppressed and suppressed by a new form of colonialism. I created a loom like grid piece and wove each mark through. I did so to translate the illusion of textile but also to keep a formal and poetic cohesion with the way I paint fauna and lace in other works. In turn this is also coherent and owes to how nature was recorded in the painting tradition of Spanish and English colonial illustrations of nature.
Nancy Friedemann-Sánchez Chapter 1 acyrlic on canvas
Leaning Chumbes
2014
acyrlic on canvas
85" x 5" x 3"

Nancy Friedemann-Sánchez Chapter 1 enamel and car paint on dibond
El Damnificado
2014
enamel and car paint on dibond
4' x 6'

The bird in the image is copied from an Audubon print, the image of disaster from the news, and the landscape is inspired by North American colonial lace researched during a fellowship at the Smithsonian Institution. El Damnificado is a survivor of a disaster. In this case the viewer is invited to question who is the survivor: the hawk, the rat, the drowning person in the car or the viewer itself.
Nancy Friedemann-Sánchez Chapter 1 enamel and car paint on dibond
detail of El Damnificado
2014
enamel and car paint on dibond
4' x 6'

Nancy Friedemann-Sánchez Chapter 1 enamel and car paint on dibond
detail of El Damnificado
2014
enamel and car paint on dibond
4' x 6'
Nancy Friedemann-Sánchez Chapter 1 enamel and car paint on dibond
detail of El Damnificado
2014
enamel and car paint on dibond
4' x 6'

Nancy Friedemann-Sánchez Chapter 1 enamel on dibond and wood
Close Enough
2014
enamel on dibond and wood
4' x 2' x 1', approx.

The wood is driftwood from the Platte River and the bird is a shopped ready made by an anonymous artisan in Nebraska representing possibly a Nebraska bird.
Nancy Friedemann-Sánchez Chapter 1 enamel on dibond and wood
Close Enough
2014
enamel on dibond and wood
4' x 2' x 1'

Nancy Friedemann-Sánchez Chapter 1 enamel on dibond and wood
Close Enough
2014
enamel on dibond and wood
4' x 2' x 1'
Nancy Friedemann-Sánchez Chapter 1
Installation view

Nancy Friedemann-Sánchez Chapter 1 acrylic, canvas, wood panel
Chumbe 1
2013
acrylic, canvas, wood panel
4" x 108"
Nancy Friedemann-Sánchez Chapter 1 paper, cay, oil stick, wood
Crisóles
2014
paper, cay, oil stick, wood
sizes vary

Inspired in the archeological vitrines of the National Museum where my mother had her office in Bogotá and where I spent many hours strolling the long corridors full of Pre-Columbian artifacts absorbing the history of Colombia in an intimate way; this piece expresses the synchretic cultural memory of the Columbus exchange. It evokes the small vessels and technique used by the indians to melt gold. The activity and form was later was taken on by the Afro-Colombian communities until today. Looking into this history represents a poetic and psychoanalytical archeology and a metaphor of displacement and migration.

Nancy Friedemann-Sánchez Chapter 1 paper, clay, oil stick, wood
Crisóles
2014
paper, clay, oil stick, wood
sizes vary
Nancy Friedemann-Sánchez Chapter 1 paper, clay, oil stick, wood
Crisóles
2014
paper, clay, oil stick, wood
sizes vary

Close-up

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