The artwork depicts a serene, lush riverscape shrouded in a verdant, tropical atmosphere. The composition features a swiftly flowing river surrounded by dense, verdant foliage, with several figures swimming in the water. The colors are predominantly earthy greens and browns, with flashes of turquoise in the water, capturing the tranquil yet dynamic essence of the natural setting. The painting's loose, expressive brushwork and muted tones suggest an impressionistic style, conveying a sense of the artist's intimate connection with the scene. This work likely reflects the artist's desire to capture the beauty and peacefulness of the natural world in a remote, secluded location. ...
The multidisciplinary practice of Nohemí Pérez, revolves around the relationship between men and nature; the conflicts, tensions and genesis that arise from this constant friction.
Based on the notions of architecture, cinema and sociology, the artist proposes a rereading of the Catatumbo territory; a geographical region in the border between Colombia and Venezuela with a very particular natural and sociocultural ecosystem. From the conquest until today, Catatumbo is the scene of multiple conflicts that have been transformed to compose a complex plot of anachronistic situations characteristic of Latin American contemporaneity. Illegal armed groups of right, left, native tribes, evangelical missionaries and large multinationals of mining and drug trafficking coexist in this jungle region.
Very often, Pérez uses charcoal in her work as a reference to mining; coal itself is also a recurring element, with which she aims to make visible the exploitation of natural resources and at the same time the violence that this triggers.
From the territory of her memory and her affections, Nohemí Pérez reconstructs the history of her origin and thus, collects the voices of those who live and have lived the Catatumbo from the close emotional ties of their experience. A particular interest in Nohemí’s work is to draw new symbolic and geographical maps that correspond to the various realities of the Catatumbo to allow it to appear on the scene of reconstruction and peace. ...
Established in Paris since 2010, mor charpentier represents both emerging and well-established artists whose conceptual practices are anchored in social realities, history and the politics of contrasting geographic regions. By promoting international practices, the gallery aims to broaden the knowledge of crucial debates of the present. A significant inaugural show with Colombian master, Oscar Muñoz, fulfilled a void in the French artistic scene by broadening the spectrum of origins, subjects and identities in the art market. Ever since, a growing number of major international artists have joined the gallery. Coming from different generations and global backgrounds, they all share a commitment to either political, feminist, post-colonial, queer or human rights causes. Amongst them are Lawrence Abu Hamdan, Teresa Margolles, Chen Ching-Yuan, Liliana Porter, Bouchra Khalili, Carlos Motta, Hajra Waheed, and more. Equal gender representation and diversity is also part of the gallery goals, with half of the represented artists being women. In 2021 mor charpentier opened a second exhibition space in Bogotá. This expansion was driven to expand the reach of the gallery program to new publics and encourage artists to explore new territories. It consolidated a long-term bond with the Latin American art scene and the international projection of the gallery. ...
