Nancy Friedemann-Sánchez

Nancy Friedemann-Sánchez

  • ABOUT
  • CV
  • MESTIZA DOS VECES: A VISUAL NOVEL
  • Prologue
  • Chapter 1
  • Chapter 2
  • Chapter 3: Travelers & Settlers
  • Chapter 4: Cornucopia
  • Chapter 5: River
  • Chapter 6: Casta Paintings
  • Chapter 7: Panopticon, A Collaborative Chapter with Charley Friedman
  • Footnotes
  • COMMISSIONS
  • Duncan Aviation
  • Celebrity Cruises/International Corporate Art
  • Instituto Caro y Cuervo
  • Women's Center for Advancement
  • EXHIBITION & INSTALLATION VIEWS
    • Casta Paintings, Utah Museum of Contemporary Art, 2019
    • Palimpsests, University of South Dakota, 2019
    • SUNY Stony Brook, two-person show with Charley Friedman, 2018
    • Monarchs, The Bemis Center for Contemporary Arts, 2017-2018
    • Chapter 5: River, The Union for Contemporary Art, 2017
    • Travelers and Settlers, Black & White Gallery, 2016
    • Travelers, Project Project Gallery, 2016
    • Realty/Reality, two-person show with Charley Friedman, 2014
    • Bernice Steinbaum Gallery 2010
    • Collette Blanchard Gallery 2009
  • PORTFOLIO ARCHIVE
  • Statement In Spanish
  • Statement In English
  • Word Drawings
  • Lace Drawings
  • Black Drawings
  • PRESS
  • CONTACT
Cornucopia
2016
Ink on Tyvek
108" x 225"

Chapter 4: Cornucopia


Chapter 4 is inspired by Spanish Colonial Barníz de Pasto—a process using a natural resin indigenous to Colombia which was turned from its original role to mimic Chinese lacquer. Using collage as an interpretation of this practice, I paint, cut, and collage flowers from decorative objects—all researched and studied from colonial Barníz de Pasto—and place them side-by-side with drones and images of masculine figures shooting at animals and plants. I use this juxtaposition of contemporary violence and historically sourced iconography and techniques to explore a contemporary colonization of culture and the brutality inherent in it. The work invites closer scrutiny: I am interested in an aesthetic experience of beauty, however very often my work ends up depicting something horrific. As a viewer, you think you are looking at a large vase with flowers, but upon examination it becomes clear that there is violence is being enacted.

Copyright © Nancy Friedemann, 2020