Sin noticias de Dios #5

Nohemí Pérez

Sin noticias de Dios #5, 200457 x 45cmSign in to view price
Details
MaterialGallery
oil on agglomeratemor charpentier
Description
Human-crafted. AI-refined.

This dark abstract painting features bold strokes of warm, earthy tones against a somber black background. The composition is dynamic, with sweeping gestures and blurred forms suggestive of a turbulent, primal scene. The techniques employed appear to be a mix of expressive brushwork and spontaneous application, creating a sense of raw, emotional energy. While the subject matter remains ambiguous, the overall impression is one of elemental power and a primordial force lurking beneath the surface. This work likely reflects the artist's exploration of the human psyche and the primal forces that shape our experiences. ...

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Artist
Nohemí Pérez
B.1964, Colombian

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. ...

Nohemí Pérez: Artworks
Panorama Catatumbo
La Batea
Nohemí PérezLa Batea, 2021
210 x 134cm
Bosque No. 2
Bosque No. 4
Bertania
Nohemí PérezBertania, 2020
66 x 100cm
Manuel
Nohemí PérezManuel, 2015
140 x 250cm
La Gabarra
Nohemí PérezLa Gabarra, 2023
190 x 500cm
La que camina
Los sueños de María
Darién
Nohemí PérezDarién, 2024
220 x 300cm
Apuntes para Darién No. 9
Apuntes para Darién No. 10
Apuntes para Darién No. 2
Apuntes para Darién No. 7
Apuntes para Darién No. 5
Apuntes para Darién No. 8
Apuntes para Darien No. 6
Apuntes para Darién No. 4
Apuntes para Darién No. 3
Apuntes para Darién No. 1
mor charpentier
Gallery
mor charpentier
Paris, Bogotá

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. ...

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