Please click on image to see movement

TV-Chair, 2004
Acrylic
61 x 24 3/4 x 61 in. 155 x 63 x 155 cm.

Marta Chilindron has been gravitating towards a single idea in art for more than a decade -- the folded form, the form that expands and contracts, collapses and then regenerates. Marta Chilindron: Common Mysteries, by Robert C. Morgan, Dot Galerie catalogue, 2002

When I look at Chilindron’s objects from the everyday world, constructed in overlapping planes, and then see them in real time and space, transformed from flat fiction into three-dimensional non-fiction, I feel exhilarated. Marta’s celebration of common objects -- not as indirect signifiers or as ready-mades, but as complex Constructivist articulations of space -- suggests a nobility of the human mind that is exemplary. Marta Chilindron: Common Mysteries, by Robert C. Morgan, Dot Galerie catalogue, 2002

Florescent Orange Cube Maquette, 2004
Vinyl, Dimensions variable

The whole notion of a form collapsing into a rectangular series of planes suggests portability. Marta Chilindron’s work implies transport from one place to another, thus recalling Duchamp’s well-known “Boite en Valise” where miniature examples of his paintings and ready-mades, including the “Large Glass,”were assembled in a traveling valise. Marta Chilindron: Common Mysteries, by Robert C. Morgan, Dot Galerie catalogue, 2002

Marta Chilindron is a sculptor.
One can sculpt by either subtracting or adding mass, by constructing or by deconstructing. Marta Chilindron does both simultaneously as her pieces oscillate between one state and the other. She creates volume out of flatness by assembling planes into a mathematical and geometrical configuration that produces an object, which exists in the second and in the third dimension and in the space in between.
Marta Chilindron – Sculptures, by Anne-Laure Oberson, Dot Galerie catalogue, 2002

From the beginning, this Uruguayan-émigré artist was fascinated with the seemingly magical relationship of shape to field, particularly of three-dimensional volume to the two-dimensional plane. (All painting, drawing, printmaking, film, and video involve the transfer of a 3-D reality to a flat pictorial surface. Chilindron reverses that effort by allowing the whole object to spring from its surround. Her recent works are, in effect, Caravaggio’s projectivist space made literal.) Her solution has been to break the surface-object conundrum, which cannot be fully resolved in either two or three dimensions, by adding a fourth parameter – namely, time. Richard Vine, Marta Chilindron, Contemporánea 1999, El Museo del Barrio, New York

Marta Chilindron creates architecture in movement. Her sculptures exist in a time and space equation where the work of art appears and disappears from plane to volume. She transforms domestic objects in articulated and mobile structures whose strong linear quality of shapes plays with the transparent and fragile quality of materials. A play occurring again between the visual and the conceptual qualities of the sculptures, altogether extremely beautiful and aesthetic, complex, questioning and slightly disturbing. Marta Chilindron – Sculptures, by Anne-Laure Oberson, Dot Galerie catalogue, 2002

The sculptures have a clean clear-cut aspect due to the material and the geometry, but they relate to the fundamentally human and basic condition that every action generates another action. The piece transforms itself from flatness to volume and occupies real physical space while its transparency allows the piece to be seen through and from all sides at once. Nothing is fixed, nothing ever stays the same; everything is always going through transformations. Marta Chilindron – Sculptures, by Anne-Laure Oberson, Dot Galerie catalogue, 2002

To see these works -- whether in color or translucent planes -- flattened on a table, a low platform, or on the floor, and then to realize them as 3-D constructs is an experience filled with surprises. We can repeat the process of opening these hinged planes over and over. We may study exactly how they are constructed. Even so, the work remains a mystery. Marta Chilindron: Common Mysteries, by Robert C. Morgan, Dot Galerie catalogue, 2002

Marta Chilindron has sustained a visual dialogue between materiality and mind, between everyday objects and ideal forms. Richard Vine, Marta Chilindron, Contemporánea 1999, El Museo del Barrio, New York

Cinema Kinesis (titled after the Greek word for motion) is more than pure math made manifest. In its evocation of a film auditorium – and surely this allusion to the movies is not incidental – the work recalls Edward Hopper’s haunted theatre interiors. Simultaneously it calls to mind two of the richest, and most severe, concepts in recent critical theory: that of the spectacle (the displacement of real experience by virtual experience), and that of the fold (the collapsing of time through the collapsing of physical or conceptual distance, yielding a nonlinear enrichment of meaning). Richard Vine, Marta Chilindron, Contemporánea 1999, El Museo del Barrio, New York

Ironically, Cinema Kinesis, as a whole has no fixed form… Only by taking a “snapshot,” a temporal cross-section, can one say that the piece has this configuration at this moment…. But the piece in its entirety is more than the sum of such moments; it is the very process of unfolding and retraction. Its essence is change… Richard Vine, Marta Chilindron, Contemporánea 1999, El Museo del Barrio, New York