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Conversing with Ana Marini-Genzon

Jun 29, 2015

JourneyWe parked at the end of the culs de sac, then walked up the driveway past the abstract Ana Marini-Genzon Studio sign, toward the little main house painted white with bright blue trim around the windows and along the roof line. It was our second to last stop during a tiring but magical and inspiring 2-day Open Studios tour this past June, in which Ana was participating.

Continuing down the driveway and past the house, some of Ana’s paintings were mounted on trees, while at the end of the driveway, a pop-up tent had been set up to exhibit more works and offer sustenance. What we’re assuming was a two-car garage is now Ana’s studio. It’s a large single room, bright because of sliding glass doors overlooking the backyard, and featuring more paintings, a few works in progress, and some of her sculptures.

We missed meeting Ana that day, but she was kind enough to respond to our inquiries and grant an interview…

 

Birds of Paradise

Birds of Paradise

 

HP: Hi, Ana. We’ve read that you were born in Buenos Aires. Did you grow up there? Could you tell us about your interest in art and your studies?

AMG: I grew up in Buenos Aires Argentina, I moved to the U. S., specifically to Pasadena, in 1989.

Art has been a passion since an early age.—it has always been a very important component of my life. When I graduated from High School, I studied art at The National Institute of Fine Arts Manuel Belgrano where I earned a BFA in Visual Arts and Arts Education.

Later on, I continued my education at the National Academy of Fine Arts Pridiliano Pueyrredón in Buenos Aires, Argentina where I graduated with an MFA with a specialization in Sculpture. Upon my arrival to the America, I continued my education in visual arts under the guidance of Alex Kristelis and Philip Cornelius. Additionally, I pursued courses at Art Center College of Design.

 

Spain

Spain

 

HP: Since you became committed to painting and sculpture, has your style evolved, and if so, how?

AMG: I started working and showing my art on a regular basis while I was working on my MFA when I was in my late twenties.

My style has evolved in such way that I can say I found my voice through my paintings, sculptures and installation work. At the very beginning of my career I painted what seemed to be safe, what seemed to follow the patterns and rules I learned at school.

 

HP: Can you verbalize, generalize what your art is about?

AMG: My art is a reflection of what I perceive happening in real life. These situations may reflect happiness, sadness, conflicts, angry feelings, protection, memories, kindness, etc. This has always been a real focus of interest in my artwork.

In addition, sometimes I present characters that I have read about. Many of these are products of a Latin American-style know as Magical Realism.

 

Year of the Horse

Year of the Horse

 

HP: How did your involvement with installations begin?

AMG: My involvement with installation work was accidental. I found sewing patterns in a recycling container.

See L. A. Times Story, May 8th, 2008:

Silence is also the theme of Ana Marini-Genzon’s new solo show at Tracy Park Gallery in Santa Monica, albeit with less sinister implications.

“It’s an exploration of inner silence, the silence people experience in their individual lives,” says the Buenos Aires native.

Featured prominently along with the 12 abstract paintings in Marini-Genzon’s exhibit is a sculptural installation with balled-up pieces of paper suspended in transparent tubes of tulle.

 

8378999_orig

 

“I was walking around Santa Barbara, and this shopping bag someone was throwing out caught my eye. It was filled with patterns, the kind people use to make dresses,” Marini-Genzon recalls.

The trove of patterns would probably strike most people as junk, but to Marini-Genzon, who describes her work as a constant search for meaning, it was inspiration.

“While creating sculptures and paintings, I try to suggest a story, not only of the moment but also of an entire life,” she says. “Not only of what we can see, but what is invisible.”

— Pauline.OConnor@latimes.com

After this experience, I continued exploring this field.

 

Below, Ana’s installation piece Silence

ShowLetter-6

 

ShowLetter

 

9344692_orig

 

HP: You’ve created paintings of women in boats and deep waters, swimmers, a woman in a tub – is water theme for you, mean something in particular?

AMG: The water, the swimmers, and the women with water polo caps are like codes or symbols that represent endurance.

A while ago, I observed water polo players—a mixed group of boys and girls—in action. Players have to keep themselves up on the surface all the time by vigorously moving the entire body, especially their legs. Simultaneously, they must keep themselves up and play a good game.

I decided the water polo cap was a gear element to be included in my paintings, especially in paintings depicting female images. By comparing this sport and the need for survival—sometimes on a daily basis—I created a series of images that intend to convey that message.

 

Sunset Tide

Sunset Tide

 

HP: People versus scenes or abstracts – is the style or type determined by the idea, a feeling, or an instinct?

AMG: People versus scenes/ abstract…

Most of the time my artwork has an image of one or more subjects representing a specific feeling or situation. However, I feel that colors and shapes, patterns and textures combined in certain way, suggest or carry a strong message as well. From time to time I create abstract images. At other times I may create a totally abstract background with one or more images of people in front of it.

In general I have a constant flow of ideas for my art. Sometimes I may not be able to work on the painting, sculpture or installation work right away simply because I am away from my studio like when I travel or I am watching a movie, or a show like Cirque du Soleil, where you cannot take pictures or record. Immediately after a situation like this, I sketch some images, write notes about colors, etc. Then whenever it is possible, I use my sketchbooks as a reference and develop the ideas to take them to higher level.

Over the year I have put together lots of sketchbooks. This helps me when it comes to document specific situations, or to revisit ideas from the past.

When I start a painting, I have a good number of ideas regarding what I want this painting to say or represent. However, when I am working on them I try to let the paintings lead me.

 

Woman's Head

Woman’s Head

 

HP: What is your favorite time of day and, if you don’t have a prior commitment, what do you like to do with it?

AMG: My favorite time of the day is the morning. If I have the time, I like to walk up and down my neighborhood on the Arroyo Saco, walk in the direction of Millard Canyon, go swimming at the gym, or ride my bike down to the Rose Bowl. Then I like to dive into my studio, turn on the music, and work on my art.

HP: Least favorite chore?

AMG: Washing dishes – I LOVE my dishwasher!

HP: What have you experienced or learned during the course of your life that has become a core life lesson or value that is essential to who you are?

AMG: Having a purpose in life and keeping at it: work hard, as nothing comes easily; care for my family and love ones; and appreciate every day as a new day full of opportunities and making the best of it!

 

White Feathers

White Feathers

 

HP: If you have a whole day off and you get to spend it in Pasadena, Altadena, or anywhere in the San Gabriel Valley, what would do, where would you go, what would you eat?

AMG: In Pasadena, I would spend my day riding my bike to Old Town and grabbing something yummy to eat or a fresh smoothie. I would go to the movies, visit a bookstore, have a coffee, and read. Meet with family and friends.

There is so much to do in this area that there is never enough time to catch up!

I remember when I first moved to Pasadena, everything was under construction—a large section of Colorado Boulevard was covered with wooden panels and everything closed early in the evening.

Growing up in Buenos Aires and having visited places in Europe where venues are open late, seeing this in Pasadena made me wonder about my decision of moving here. I was kind of shocked.

Fortunately, over the years Pasadena has became such an amazing place with concerts and shows in parks or public venues, museums, movie theatres, great restaurants, and great outdoors activities.

I love Pasadena/Altadena—and this whole area on general!!

 

Ana Marini-Genzon; photo by Ricardo Genzon, Rail Productions

Ana Marini-Genzon; photo by Ricardo Genzon, Rail Productions

 

~~~

 

To learn more about Ana Marini-Genzon and see more of her work, please visit AMGart.com.

Ana is represented by:
Jorge Mendez Gallery in Palm Springs, CA
JorgeMendezGallery.com
Wilde Meyer Gallery in Scottsdale, AZ
Wilde Meyer Gallery in Tucson, AZ
WildeMeyer.com
Artamo Gallery in Santa Barbara, CA
ArtAmo.com
Gloria Delson Contemporary Art in Los Angeles, CA
GDCAGallery.com
Gallery 381, San Pedro, CA
TangoSanPedro.com/GALLERY
The Loft at Liz in Los Angeles, CA.
TheLoftAtLizs.com
Lola Mora Gallery in Echo Park, CA

 

White Harmony (white porcelain with child size violin), created for the Zimmer Children’s Museum

White Harmony Det. II

 

White Harmony Det. Hnds.

Awards and Residencies

Premi Internacionazionali delle Arti “Memoria Lucia Martinez” 2004- 2008 Asociacion cultural Ruiz Aznar – Granada, España. 2004-2008

Diploma de Accésit – Premio Concurso Internacional de Artes Plásticas ” Compositor Antonio Guada” Granada, España. 2005

Ana was selected to participate in residencies in Naples Italy, and in Barcelona, Spain.

 
 




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