Daniela A. Montemayor

Gravestar Community Windows at CVS | Porter Square Shopping Center

Daniela A Montemayor
BFA in Fine Arts, 2000
Mexico City, Mexico

Divine Lotus

Oil on canvas, 2007
79” x 51”
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My work is based on the appropriation, deconstruction and reinterpretation of two and three-dimensional ornaments from different cultural backgrounds: present, ancient, eastern and western.

Disqualified in the axiology of modern and contemporary art, the ornament is formed at its origin as a symbolic element destined to order and structure the individual and collective imaginaries. Used in religious, folk and decorative aesthetic contexts, the ornament allows crossing cultural borders by identifying as a configuration of abstract forms.

In my work I use the ornament as a formal resource that allows demolishing frontiers between imaginaries considered antagonistic. Through the reinterpretation of ornament I suggest the lack of boundaries between abstraction and figuration, two-dimensional and three-dimensional, individual and collective, visible and invisible.

I work from thematic projects composed of a small number of pieces which, based on their formal particularities, develop and strengthen the core theme.

Considering the ornament is a formal element found in three-dimensional and two-dimensional compositions from different types of historical and present imaginaries like artistic and folk, religious, commercial or decorative, my work expands towards different genres that allow to link and confront artistic, industrial and craft creations.

Conceptually, I am interested in altering the meaning and institutional value of the ornament reconfiguring its visual.

Divine Lotus is part of  the project Mixed Beliefs

It is an investigation of the strength of certain images and symbols to build and enhance the mystical, spiritual and the collective identity. I have appropriated different imaginaries mainly medieval, renaissance and oriental transforming and merging them from thoughts and personal experiences to erase borders and cultural stereotypes. Among the appropriated imaginaries are symbolisms of the West, Asia and the Middle East like textile designs, calligraphy and illustration.

Based on the appropriation of decorative aesthetics and of its transformation into pictorial qualities that alter the visual conventions, I question the taboo of the decorative in the arts and reinstate to ornament the iconographic significance it has had in past cultures.

My pictorial poetic is based on the alteration of what is considered the visual reality of technological reproduction of the ornament. Through pictorial fiction, I alter the meaning and perception of reality building ambivalent images of flat surfaces and smooth textures but coarse.

Of the appropriation of images, I cut fragments that in the final composition juxtapose altering the convention of the memory and showing the juxtaposition of different doctrines and cultures.

The conceptual juxtaposition visually strengthens through the subtle transparencies that remit to the existence of different realities.


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