Maria Veronica Leon V artist from Ecuador in Paris

PAINTINGS

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The Transgender Kitchen

Oil, Acrylic, Gold Podwer,  Dry Point and Collage on IKEA Kitchen. Venice 2O15

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Through the Centuries
Oil on Canvas, Paris 2OO3

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Maria Veronica The gold rush

 

Contemporary art is rediscovering gold, this exceptional material, fascinating in its lustre and splendour, which brought glory to Ravenna and was restored to use in art by Gustave Klimt.
In the 21st century, Louise Bourgeois, Anish Kapoor, James Lee Bayars and many other artists boldly revive the tradition of the time of the pharaohs, an imperturbably enduring tradition: “gold is immortality” is the Brahmins’ constant refrain.
“Gold has no part to play in the mythologies of Homo faber.” The historian of religion, Mircea Eliade, spent his lifetime studying this question: “Gold is a creation of Homo Religiosus.” It was the first metal used by man, even though he could not use it to make tools or weapons. “Throughout History and technological innovations, from the use of stone to working bronze, then iron, and finally steel, gold has never played a part.”
Alchemists wanted to turn other metals into gold in order to cure their imperfections. Through this noble material, art touches on the sacred: “The essential symbolic value of gold has never been tainted despite the progressive desacralisation of Nature and human existence.”
There is red, black and lots of gold in Maria Veronica Léon’s painting, the enigmas of her symbolic world exploding from their fiery fusion.
Yellows, greens and blue fuse in a variety of shapes, including squares, circles, trapeziums and pentagons; they splutter into triangles and even more elastic geometric shapes. Her line unfurls such an extraordinary tangle, what can you say?
Maria Veronica Leon’s painting is disconcerting in its originality.
A willing secessionist, she eludes the golden nets she inherits from the Austrian painter who could easily have been her ancestor, but there are others before him, anonymous pre-Colombian artists from whom she gains this inheritance that binds her to the sun.
Her lyricism, freedom and courage make her different; a female artist whose attitude reminiscent of the mythical Penelope weaves her intrigues in the name of civilisation and peace.
Like the Homeric woman, she diverts her craft and directs it towards her own vital experience, thus transforming reality into legend and legend into a wonderful dream.
From the portraiture she has practised for years, she is moving towards her phantasmatic memory and from the likeness of the model to the probability of her adventure.
This is the first time she introduces animals into her painting and gems instead of faces. Men and women lose their smile, their expressions, and their weaknesses. The artist metamorphoses them into natural elements, in the first ages of humanity. When her palette darkens in a dramatic movement, incandescent red evokes the        Dante-esque movement of the lava, deep, dark blue tries to calm the catastrophe, a draped silhouette stands out like a pyramid, instead of the face, a star.
Like Munch, she emphasises the voluptuous language of lines, like Beardsley she loves luxury. Her lines meet, forming her abstract geometric shapes, and this is how she conceives cities, articulating their volumes by organised agglomerations of shapes. Civilisation has a horror of the void, but the black hole is lying in wait for it. If souls petrify in a world of stars, and numbers rule the world, humanity would have to start from zero.
Ileana Cornea Paris May, 2014

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Locality & Aesthetics

Solo Exhibition by Maria Veronica Leon Veintemilla

Cube Arts gallery DIFC 

May 14, 2014 – June 14, 2014

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In the face of globalization and the commercial saturation of conventional societies there is a drive to create or “contrive” the new and distinct. This, in turn, leads to the formation of transcendental communion -- one such example being, the United Arab Emirates.

‘Locality & Aesthetics’ assembles works by internationally claimed artist ‘Maria Veronica’ set out for a spiritual journey, in order to seek new artistic challenges. Her paintings and drawings are reflection of the visual charm and fragrance of the “foreign region”, the pictorial translation of sunlight, and the rendering of heat, as well as the changes brought about by these phenomena in the social landscape.

Locality & Aesthetics, celebrates the miracle of a poetic beauty, and puts forward the idea of the “moments of ambition”1.
  1. Charles Baudelaire, Le Spleen de Paris, 1869
    Arash Amir Azodi

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The Stress of The Sheikha
Acrylic and Pen on Arches, Dubai 2O14

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Hexagonal Perspective 
Acrylic and Pen on Arches, Dubai 2O14

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Sheikha Diamond
Acrylic and Oil on Canvas, Dubai 2O14

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Dubai, The Diamond of the Region
Acrylic and Oil on Canvas, Dubai 2O14

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Sheikha Saphir
Acrylic and Oil on Canvas, Dubai 2O14

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 The Veils of the World
Collage and Painting on Arches, Dubai 2O14

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Times of Splendor
Acrylic and Oil on Canvas, Dubai 2O14

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Guayaquil, 2003

María Verónica is a remarkable painter, an artist that in her early years has already a body of work that is sustained in a very important multidisciplinary production.

In a globalized world, María Verónica works parallel to fuse two traditions that are divergent in appearance, modern art, specifically painting, and contemporary art in the extrapictorical manifestations.

Light and color, and gold take a dominant place in the chromatic of her paintings, but her leitmotiv is dance and movement, something in harmony with her personality. It is for this reason María Verónica has been dedicating part of her creation to Pina Bausch dance and the Wuppertal Tanztheater. Pina Bausch company: fusion dance and theater with a psychological expressively and a philosophical dimension that makes a sketch of our existence in contemporary times.

María Verónica is fast in taking the instant of the movement, and precise in the capturing the nature of dancers. She uses curved lines that enlace each other, bringing out a spatial volume. When she places the relaxed point in the center of the composition, she works around to achieve the radial movement of the figures. Her drawings are not excessive in their trace and they acquire a 

solemn character when she uses gold applications and reflections.

The painting of María Verónica is defined by a neo Baroque environment, which is distinguished even more because of the presence of gold, which remind us of the Venetian school and more particularly of Gustav Klimt. Her favorite subject is the portrait, of which she has had many commissions in Ecuador, as well as in other countries. María Verónica paints herself often. 

She is the painter and the model, a kind of hedonism which is specially allowed in the art world. Her familiar portraits or double portraits of mother and daughter, talk about a particular subject in our tradition of painting.

Her inclination for two of these arts, painting and dance is evident. In this way, María Verónica is inscribed in the renacentist tradition prolonged by Castiglione, who ask to be considered a gentleman (in this case a lady) of culture, the versatility of interests.

It is the absolutely truth that we can know the excellence of an artist before by looking at their drawings. It is the first volunteer of geste and the trace. María Verónica shows considerable proof of mastery in her magnificent drawings. They are of high quality, remarkable in their execution and they posed an emotional charge to perceive the generous spirit of her creator. The movement captured in drawing is something very difficult for a plastic artist. María Verónica achieves this.

Through her condition of contemporary artist and dilettante of dance, this young woman, mundane and voluntary, who works part of her life in the magnificent and luxurious Paris, shows us a multidisciplinary creation without precedents in our art history. Exceptional exhibitions are possible thanks to the courage of this young Ecuadorian lady, daughter of our costa and pride of our culture.

Juan Castro y Velázquez

Historian an Art Critic

Ecuador 2003

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En la Plaza de la Paletta corro yo, Toro, Gata y Mujer Artista

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In looking at the Ecuadorian contemporary art scene, we must confront the reflection of the encyclopedia of the XX century in juxtaposition with the emerging production of the contemporary creators. Confrontation is the right term to use in this instance as the evolution of visual arts in every continent is the struggle to stay contemporary.

 

Maria Veronica art work has in her formal artistic language has a notorious interest in taking an aspect of cubism, the "eidetic" cubism, which is based in the phenomenological thought of Edmund Husserl, about his eidetic reduction. It is a way of taking the plastic representation with advantages, especially in the colors liberating themselves of the local tonality, much like Guy Habasque proposed in 1949.
In her work, she uses gold as the principal color which simplifies the volume over the surface, therefore they are more illuminated. The paintings answer to a pretext theme, which is evidently autobiographic, but not carrying it to an epistemological investigation, as Gleizes had described previously described: The painting becomes a fact, its reality is not the reality of the mirror, but the reality of the object. It homogenous in everything, moving and closed, and not a spectacular fragment that is open because the frame. Its beauty is not about what it says, but it is inside of it because it exists.

 

The circle, like the shape of the production of Maria Veronica Leon, remind us of painters of gold section like Robert Delaunay and her wife Sonya Delaunay-Terk, which shows us a very rich work in musical implications. The circle in the geometrical abstractionism is the figure which they proposed as a musical dimension of time, beginning in the musical camp which was different the position of Wasilly Kandinsky.

 

Kandinsky, who was based in the principle of an interior necessity inspired in the dionisiaque music of Wagner, during the same time, the painters of gold section achieved this from a starting point that was more apollonian and that made it more loyal to the principles of harmony.
Over the brilliant surface of compact discs, she draws with a knife very deep lines like the traces of a print, for this reason each trace is an indelible and unchangeable mark; like a diamond cut. With this, the reflection suffers decomposition and it is dissolved like a mirror gallery, held in the palm of the hand. A way to capture the light and to leave a reiterative optical testimony, that she calls CD Art theory (artistic theory of the CD), suspended in an interesting text.
The game of the mirrors in arts has a complicated genealogy, but was notorious   in Classic Antiquity, in Orient as in the Pre-Columbian America; mirrors appeared with more frequency in circular ways and in a handy size; when the reflection breaks on the water; like in Narcissus myth, we have concentric circular waves.
The mirror," physique" like as it was called in Central Europe in the XIX century, is where the personality of this courageous woman appears clearly; who defend her talent and who printed in a contemporary palimpsest her own life.

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Juan Castro y Velazquez
Art Critic and Art Historian

 

Guayaquil, Ecuador 
2002

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L'oeuvre de Maria Veronica Leon V. s'est developpe dans les annes recentes en trois directions -La peinture d'atmosphere neosurrealiste sur les themes de corps fertiles, tout en traits et en lignes exprimant l'amour de la vie, dans la concentration des effets avec des references implicites a Bellmer par certains cotes et a Leonor Fini, dans la finesse et le raffinement,a l'art du mouvement (musique et danse)> Ces peintures trees lies la gravure font la joie de coinnaseurs et sont completes par un important corpus de dessins.

La deuxieme direction qui fut aussi visible a Paris, a la Galerie de Nesle et a L'Unesco, met en relief le coup de pinceau decisif de l'Artiste peintre equatorienne de premier rang dans une etonnante serie de portraits tout en autant realistes que gracieux dans une pose et une atmosphere mysterieuse presque sacrale ce sont les cas de quelques chefs d'oeuvre comme l'Imperatrice de Chine, sorte d'autoportarait transfigure et reincarne dans un processus hispano-sino-inca et de la fameuse chanteuse Bjork, fantastique dans son rapport au monde contemporain serti dans le cosmos

Les tonalites de ces peintures sont toutes fortes, le grand vert de la tradition orientale de l'Imperatrice avec ses accents noirs et rouges, les verts et brunes chez les danseuses, le bleu, le mauve ailleurs. Les presences j'aillies du tableau dans le portrait d'Adjani, presque iconique et dans des dizaines de autres, qui ont ete vues dans des nombreuses expositions a retentissement international a Paris, New York, Quito, Beijing, La Havanne, Quebec, Los Angeles.

Et de nouveau le jaillessement eclatant de l'An 2001, l'entree dans le troisieme 

In these past three years , Maria Veronica' art work is developed in three directions, painting in a neosurrealistic atmosphere about fertility of the bodies, traces and lines in a concentration of effects with Bellmer references, and Leonor Fini in the finesse and the art of movement (music and dance). These paintings are in a close relation with printing and they are completed by an important body of drawings.

The second direction showed in Paris puts in relieve her decisive traces in a

very impressive group of realistic graceful portraits, creates in a mysterious 

and almost sacred dimension, some of her mayor works like chine Imperator is a kind of self- portrait transfigured and reincarnated in a hispano-sino-inca processes and the portrait of Bjork fantastic in her cosmic rapport to the contemporary world. 

The portrait of Isabelle Adjani, Clinton and many others, showed in Quito; Paris, Beijing, La Havana, Quebec, Wuppertal and New York.

In the third millennium Maria Veronica shows the third direction of her work, widely operative in the creative dimension of the new century: big paintings of Inca divinities, looking our contemporary, virtual and transactif world

Representative pieces for the world museums, hieratic and dynamic pieces in their rapport to the space; to the light, to the palette nuanced, complex and dominated by colours in a deep assimilation of the orphism, le rayonisme, the transcultural symbolism of Hispanic and Inca worlds

Human pieces, feminines in essence, incredibly riches that is derisory impossible to describe them in some lines, that could break the status quo around this interesting (versant) postradicional and mechanic painting of new technologies, criticizing the post-industrial conformist, full of publicity and conveniences, and at the same time, technique mastery of pictorial meatier, giving new life to the manual painting, optical and efficient painting, captivating a large public.

They are the confirmation of a new talent, which is sitting in classic bases with intense creative projections. Maria Veronica, one of the big painters of our times, woman of ultra-light conscience, who install a symbolic triangle, lyric and expressionist between the Amerindian and European vision, and the new art of loving our world; to regenerate it and to go over . Calligraphy, colours, shapes, faces and signs superposition. Mystery and humanity and a word which appears often in some paintings, amor, amour, with different vibratory intonations

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Marc Debergh

Historien et Critique d'Art       

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