Cecilia de Torres, Ltd.

Marta Chilindron - Dimensions 1997 Spring



Marta Chilindron - Dimensions

"...Chilindron is clearly interested in the volumetric relations between the components of each piece... the artist's spatial manipulations result in a strikingly poetic, Minimilist version of these commonplace objects... The show's title, "Dimensions," suggested the artist's strong focus on the reciprocity between perspectival renderings and sculpture. The viewer is constantly reminded that the act of seeing is equally retinal and conceptual." - Jonathan Goodman, Art in America, September, 1997

"Chilindron's work... alludes to the frontiers between two-dimensional flatness and three-dimensional spatiality. In this border zone it is not known if the objects are growing out of the plane and building themselves up, or if to the contrary, they move toward the plane, folding in upon themselves and disappearing. ...Chilindron returns flat representation to the world of real objects as a new object, freed from references. She is making concrete what is no more than an abstraction."  - Ana Tiscornia, Perverting the Specific Object, Atlantica Internacional Revista de los Artes, Winter, 1996

"Art in America" Review

"The Review" Review

"Art Nexus" Review

Marta Chilindron

Chilindron was born in Argentina and raised in Uruguay, in 1969 she moved to New York where she received a BFA from the State University of New York.

Since the beginning of her career, Chilindron has focused on issues of space, time, and perspective. In her early sculpture she altered the shape of basic furniture to reflect her point of view in relation to her body in real space. In her first solo show in the Gallery in 1997, Chilindron further explored the treatment of furniture by compressing the depth of the stylized shapes of a table, a chair and a sideboard made of white enameled wood, while leaving the height and width untouched. Her first collapsible piece, made in 1998, was of a table and chair, cut out of Gatorboard that materialize in the third dimension when opened. Cinema Kinesis was her first large moving work, commissioned by El Museo del Barrio in 1999, of a movie theatre that opened and collapsed powered by a motor. In 2000 she started working with transparent and color acrylics.

She was awarded a Pollock-Krasner Foundation Grant, the Anonymous Was a Woman prize, a Joan Mitchell Award, and a Civitella Ranieri Artist Residency in Umbria, Italy. Invited to participate in many group shows: Exit Art-New York, CIFO-Miami, MoLAA-Long Beach, Haus Konstruktif-Zurich; and solo shows in Doha, Quatar, Geneva, Miami, and Sâo Paulo. Her last public installation was for the Focus Lodz Biennal in Poland.


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