Con el agua al cuello

source: galleriaverrengiait

La ricerca artistica di Amparo Sard si realizza attraverso il disegno, la fotografia, l’installazione, il video e ultimamente anche la scultura, mezzi con i quali è possibile raccontare le complesse dinamiche esistenziali da lei affrontate.
La sua peculiarità, tuttavia, rimane la tecnica della punzonatura su carta. In questi lavori la superficie bianca della carta è intaccata dal traforo dell’ago che disegna le forme e i volumi, creando effetti di chiaroscuro che emergono come in un bassorilievo. La superficie forata perde la sua consistenza e diventa fragile, così come l’uomo quando si trova di fronte alle sue paure più intime o quando deve fare i conti con le conseguenze delle sue azioni.
Gli ultimi lavori dell’artista spagnola si incentrano sul tema dello Sdoppiamento e del Limite ( tra istinto e impulso) e trovano la loro forma ideale nella scultura. Le nuove opere in fibra di vetro sembrano prolungamenti artificiali di un corpo naturale, in particolare gli arti recisi suscitano un senso d’angustia e giocano sull’ambiguità degli oggetti privi di vita.
Le sue opere si trovano in importanti collezioni pubbliche e private e sono state acquistate da alcuni tra i piu’ importanti Musei, sia negli Stati Uniti che in Spagna ( MOMA – New York, Guggenheim – New York, Casal Solleric – Palma de Mallorca, Museo di Arte Contemporanea di Murcia, Museo ABC – Madrid).
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source: re-title

Amparo Sard (Mallorca-Spain, 1973) a Spanish artist famous for “piercing” space. She uses different medium of expression: drawings, video, installation and sculpture. In her “drawings” on sheets of paper, Sard has “embroidered” stories giving body to plastic shapes that profane the bi-dimensionality of the support. An absolute monochromatism, white, which evokes silences and solitudes exploring themes of identity and confinement. Using a unique form of pointillism, Sard creates small and big works on paper, huge and small sculptures in different materials, from the fiberglass to the paper, consisting of thousands of pinholes resulting in intricate imagery that can be described as “pixilated embroidery”. With the on-going Fly Woman series, Amparo Sard started a reflection on the doubt and anguish produced by indecision. In the second series Sard talks to the implication of the error or “Mistake.” This work expresses the wrong decision, the confusion between cause and consequence, after the mistake, when the die is cast and the protagonist may not undo it. In the last series Impasse her countenance is covered with her hands that also form a kind of canoe. A canoe that follows the sea flux and even if “we would run away from it, we are prevented by the waves movement. From this inability starts the Impasse, a stalemate in which we create the astraction of ourself, generating a capsule that allow us to move away from the time”. Some mirrors set up in angle multiply the presence of the subject that wants to understand that infinite pleasure, but also the woman sits and lays down in between two mirrors or starts running away with them under her arms.
Recently some of the Amparo Sard’s works have been acquired by some of the most important Museums both in USA and Spain (MOMA and Guggenheim – New York; Casal Solleric – Palma de Mallorca, Museo de Arte Contemporanea de Murcia.
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source: videoartworldorg

Indecision is the common factor in all the videos of this series. Characters are on the verge of making a decision, but ultimately cannot. This eternal and constant moment of choice strengthens and exaggerates anguish. The visual references (water, suitcase, chair, fly, bed, etc.) give us cues to understand the space defined within the frame, something open to free interpretation. But the language Amparo Sard uses is a subliminal one, a language that tells us about beauty but also communicates with the wicked. We feel this sense of wickedness when something that appears to be alive is in reality nothing more than an object, as happens with the wax sculptures and automated dolls, or the amputated arm. Amparo Sard’s amputations are clean, without a trace of blood, caused by the reflection of light in water particles.
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