Lucía Rodríguez Pérez

Abstract stone drawing, hyper-realistic and detailed graphite on paper

2020

Hannah Wilkinson is a New Zealand football player, musician, and visual artist. She had a notable collegiate career at the University of Tennessee in the United States and went on to play professionally in Sweden, Portugal, Germany, and Australia. Additionally, she represents the New Zealand Women's National Team, the Football Ferns, participated in three Olympic Games, and three FIFA Women’s World Cup. Art has always been a significant part of Wilkinson's life, even before she began her soccer journey. She explains: “Born and raised in Whangārei, New Zealand, I began drawing and creating before kicking a ball. My artistic pursuits offer a healthy balance off the pitch, allowing space to mentally offload pressures associated with being an elite athlete, while also enhancing the focus-flow state needed to perform both artistically and athletically.” Wilkinson's work spans various mediums, including drawing, digital illustrations, painting, and murals. Although sports is a dominant theme in her art, she frequently incorporates symbols related to philosophy, music, and New Zealand's cultural identity, landscapes, and wildlife. She is a proud member of the International Olympic Committee's Olympian Artists program and made significant contributions to the Olympic Agora exhibition held at Tokyo's Mitsokoshimae metro station before, during, and after the 2020 Games (held in 2021). Recently, she was also commissioned to create a mural at Auckland's Eden Park national stadium, celebrating the staging of the three women's World Cups (cricket, football, and rugby) in New Zealand in 2022 and 2023. This stadium will be the venue for the 2023 Women's World Cup, where Wilkinson will be competing. Hannah Wilkinson created two limited edition prints for the special occasion of the “In the Beginning, there was Football, " exhibition, coinciding with the 2023 Women's World Cup. Through powerful imagery and poetic language, Wilkinson explores the philosophy and emotion surrounding football in two limited edition prints. Her work reveals her deep emotional connection and proximity to the game. In Heart in the...

Hannah Wilkinson is a New Zealand football player, musician, and visual artist. She had a notable collegiate career at the University of Tennessee in the United States and went on to play professionally in Sweden, Portugal, Germany, and Australia. Additionally, she represents the New Zealand Women's National Team, the Football Ferns, participated in three Olympic Games, and three FIFA Women’s World Cup. Art has always been a significant part of Wilkinson's life, even before she began her soccer journey. She explains: “Born and raised in Whangārei, New Zealand, I began drawing and creating before kicking a ball. My artistic pursuits offer a healthy balance off the pitch, allowing space to mentally offload pressures associated with being an elite athlete, while also enhancing the focus-flow state needed to perform both artistically and athletically.” Wilkinson's work spans various mediums, including drawing, digital illustrations, painting, and murals. Although sports is a dominant theme in her art, she frequently incorporates symbols related to philosophy, music, and New Zealand's cultural identity, landscapes, and wildlife. She is a proud member of the International Olympic Committee's Olympian Artists program and made significant contributions to the Olympic Agora exhibition held at Tokyo's Mitsokoshimae metro station before, during, and after the 2020 Games (held in 2021). Recently, she was also commissioned to create a mural at Auckland's Eden Park national stadium, celebrating the staging of the three women's World Cups (cricket, football, and rugby) in New Zealand in 2022 and 2023. This stadium will be the venue for the 2023 Women's World Cup, where Wilkinson will be competing. Hannah Wilkinson created two limited edition prints for the special occasion of the “In the Beginning, there was Football, " exhibition, coinciding with the 2023 Women's World Cup. Through powerful imagery and poetic language, Wilkinson explores the philosophy and emotion surrounding football in two limited edition prints. Her work reveals her deep emotional connection and proximity to the game. In Heart in the Game, football is inseparable from her sense of self. On the other hand, in Soccerates, Wilkinson playfully positions a football at the feet of Socrates, applying the Socratic method in the context of football. This juxtaposition alludes to the pursuit of virtues and the enrichment of the soul through football, comparable to the ancient Greek peripatetic school. Here, substituting walking with playing football as a means of acquiring knowledge and wisdom. One print focuses on logic (‘logos’) in understanding the game’s significance in society, and its associated ethics and values, while the other explores emotion (‘pathos’) equating football with love, and expressing what is at stake with football—the heart. Artist Statement on “Soccerates”: “To be is to do. Over time, this game defines us in many ways. Pursuing excellence in football always required an undying thirst for knowledge, a drive to know more and to be better. This work reflects exactly this, inspired by Socrates’ teachings to cultivate virtue and better the soul. Using an image of the Socrates statue...

“Colors appear connected predominantly in space. Therefore, as constellations they can be seen in any direction and at any speed. And as they remain, we can return to them repeatedly...

“Colors appear connected predominantly in space. Therefore, as constellations they can be seen in any direction and at any speed. And as they remain, we can return to them repeatedly and in many ways.” ― Josef Albers, Interaction of Color (1963) “I wanted to see if I could create tension and interest just by playing with color and composition—as to build a foundation on which my paintings could be constructed [. . .] I realized they were the first space in which I allowed myself to be free of representation, to explore color and composition not just as tools but as the medium through which my vision could come to life.” ― Lucía Rodríguez Pérez on the Grid series, 2023 In 2018, Lucía Rodríguez Pérez commenced her Grid series collages, which began as an exercise in exploring color without the constraints of paint. Her inspiration for this work came from two artistic influences: the medium of German artist and educator Joseph Albers...

“Colors appear connected predominantly in space. Therefore, as constellations they can be seen in any direction and at any speed. And as they remain, we can return to them repeatedly...

“Colors appear connected predominantly in space. Therefore, as constellations they can be seen in any direction and at any speed. And as they remain, we can return to them repeatedly and in many ways.” ― Josef Albers, Interaction of Color (1963) “I wanted to see if I could create tension and interest just by playing with color and composition—as to build a foundation on which my paintings could be constructed [. . .] I realized they were the first space in which I allowed myself to be free of representation, to explore color and composition not just as tools but as the medium through which my vision could come to life.” ― Lucía Rodríguez Pérez on the Grid series, 2023 In 2018, Lucía Rodríguez Pérez commenced her Grid series collages, which began as an exercise in exploring color without the constraints of paint. Her inspiration for this work came from two artistic influences: the medium of German artist and educator Joseph Albers...

Original work by Mary Early. Graphite, wax crayon, and sumi ink on Arches paper, 12.25 x 16". "The production, or “pouring,” of beeswax elements has become a meditative process that is integral to my art practice, serving as an observation of time, materials, and space. The raw beeswax I use has taken its form at the end of a long series of natural processes followed by a manufacturing process, and once it is in my hands, the studio becomes a factory. I apply my own methods of transforming the material by casting the beeswax into three-dimensional forms. Once I have fixed both a place and a time in the future for a potential installation, I begin to determine how the beeswax lines will take their aggregated shape in that space and, simultaneously, how many lines might be manufactured for that particular space in the amount of time available." Mary Early (born 1975, Washington, DC) lives and works in Washington, DC. She studied visual art, film, and video at Bennington College, and her work has been exhibited at the United States Botanic Garden, Washington Project for the Arts, the Corcoran Gallery of Art, Second Street Gallery (Charlottesville, VA), Hemphill Fine Arts (Washington DC,) the Austrian Cultural Forum (Washington DC), Galerie Im Ersten (Vienna, Austria), Kloster Schloss Salem (Salem, Germany), Kunstlerbund Tubingen (Tubingen, Germany), and the American University Museum (Washington DC) among other regional and national galleries. Her early work incorporated formed concrete, tarpaper and paraffin wax, fabricated wood structures, and, increasingly over the years, surfaces coated with wax as a method of preserving or concealing an object within. Recent works have relied solely on solid forms cast in wax, abandoning the use of any permanent armature. Temporary installations are guided by schematic drawings and plans, which then serve as a permanent record. In 2014 she exhibited her first large-scale installation of wax lines at Second Street Gallery in Charlottesville, VA, followed by temporary installations in response to various historical sites in Salem, Germany (2016) and Tubingen Germany (2017). In 2017 she participated in the exhibition “Twist-Layer-Pour” at the American University Museum, which included Untitled [Curve], an installation of thousands of beeswax lines assembled on the floor of the museum. In spring 2018 she was commissioned to create a temporary installation at the Sun Valley Center for the Arts, Sun Valley Idaho. This work took the form of two intersecting curtains of hanging beeswax lines bisecting a 12’ foot x 18’ foot room, providing an immersive and enclosed viewing space. Early’s work is included in the collections of the US Department of State/Embassy of Panama, Kimpton Hotels, and the District of Columbia Art Bank among other public and private collections. She is a recipient of the Artist Fellowship Grant from the DC Commission on Arts & Humanities, Washington DC (2020, 2019, 2018, 2017, 2016, 2015, 2014, 2011, 2009, 2007). Early is the director of HEMPHILL Fine Arts, Washington, DC, and serves on the boards of Hamiltonian Artists and Washington Sculptors Group. She handles the work of contemporary artists and artist estates, including the work of William Christenberry, Colby Caldwell, Hedieh Javanshir Ilchi, Linling Lu, Mingering Mike, Robin Rose, Renée Stout...

3 Sculture 2012 Acrilico e grafite su carta CM 70x50 Con la mano e con fuoco, sul metallo. Con la mano e col pensiero sulla carta. Il disegno è inscindibile dalla scultura e non ...

Julie Harrison is an artist in New York City who moves between drawing, photography, video, painting, and performance. Museum exhibitions include the Museum of Modern Art in New Yor...

Julie Harrison is an artist in New York City who moves between drawing, photography, video, painting, and performance. Museum exhibitions include the Museum of Modern Art in New Yor...

Julie Harrison is an artist in New York City who moves between drawing, photography, video, painting, and performance. Museum exhibitions include the Museum of Modern Art in New Yor...

Julie Harrison is an artist in New York City who moves between drawing, photography, video, painting, and performance. Museum exhibitions include the Museum of Modern Art in New Yor...