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About Maria Jose Concha

About the artwork

Maria Jose Concha was born in 1979, Chile and studied Fine Arts at Universidad Católica de Chile Maria Jose Concha lived for 7 years in the Chilean Patagonia, the world’s southernmost landscape, an experience, which transformed her work and became the focus of her expressive painting. Concha’s work takes those typical phenomena of the landscape and reconstructs, sometimes deconstructing them, into elements, which belong to the painting process. "The landscape is transmuted into painting, and the painting into the essence of the landscape". According to art critic Gaspar Galaz, "The important point of Maria's proposal is the methodological relationship with the material painting. This painting is gestural and certainly informal but, because of the rigor that the artist gives to the painting through the gesture, it elaborates a visuality which, while decomposing the canonical representation of the landscape painting, gets closer towards a speculation, which shows a different manner and a different attitude in her gaze when she faces the natural model or the imagined nature".

Maria Jose Concha Magenta Yellow Composition, 2016

£450.00
H 30 cm x W 40 cm x D 4 cm
More details
Oil
Original, Unframed
Signed
Ships from: United Kingdom
  • Certificate of authenticity Certificate of authenticity

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About Maria Jose Concha

About the artwork

Maria Jose Concha was born in 1979, Chile and studied Fine Arts at Universidad Católica de Chile Maria Jose Concha lived for 7 years in the Chilean Patagonia, the world’s southernmost landscape, an experience, which transformed her work and became the focus of her expressive painting. Concha’s work takes those typical phenomena of the landscape and reconstructs, sometimes deconstructing them, into elements, which belong to the painting process. "The landscape is transmuted into painting, and the painting into the essence of the landscape". According to art critic Gaspar Galaz, "The important point of Maria's proposal is the methodological relationship with the material painting. This painting is gestural and certainly informal but, because of the rigor that the artist gives to the painting through the gesture, it elaborates a visuality which, while decomposing the canonical representation of the landscape painting, gets closer towards a speculation, which shows a different manner and a different attitude in her gaze when she faces the natural model or the imagined nature".

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