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Karla Blanchard is a 33 years old artist born in Venezuela.

I am an Architect who graduated from UCV (2010) and a self-taught plastic artist. I have specialized studies in art gallery management (2016) and creative intervention processes (2017).

I have 14 years of experience in artistic work, with several private and institutional art exhibitions in Venezuela, the United States, Colombia, Italy, France, Holland, Switzerland, Germany, Belgium, and Austria. As an architect, I have a strong background in interior design, Retail design, creative intervention processes, and artistic direction for branding.

My artworks have always been influenced by different representative languages such as the deconstruction of the image, synetism, textures, and mixed techniques applied to the canvas. At present, I was selected for an artistic residency sponsored by a Colombian collective of Artists called ETRA 4.0 that promotes the academic formation of research-creation projects for museums and underlying cultural entities, which considers a period of 2 months of training.

I used to present my artistic projects under the pseudonym of Kblanchard, you can find part of what I create through Instagram @espaciokblanchard.

I currently reside in Medellín – Colombia.

Artist statement:

My artistic project seeks to communicate through painting and mixed techniques, the interpretation of cities, natural territories, and societies, where there is a behavior of constant qualification, enumeration, focused on segregating and labeling everything that surrounds us or that is within our reach, to control it.

Humanity has proposed different ways of narrating the characteristics of most of the elements that surround us. * One of the ways is the generation of codes to identify a face at1961. The appearance of the number arises as an element that helps to qualify what exists and what does not exist.

With the Artworks of this project, I look forward to asking: What are the reasons for the Latinamerican governments and humanity control entities to subliminally teach and influence, to divide, name, and mark everything that surrounds us?

How and why this system’s tool, which not only functions as a vital organizer of existence, also acts as a lethal weapon of destruction and social fragmentation that discriminates and offends humanity, territories, and nature? Do we have to have a number, color, name, characteristic to belong?

Hello Karla! When did you begin painting and how did you get started?

Karla: Hello, I start painting when I was 13 years old.

DUO

Tell us about your artwork, medium, style, subject matter etc.

Karla: I am interested in investigating the system adopted by Latin American governments and educational entities to teach and subliminally influence the population to divide and label their context. From that point of view, I question the value judgments produced by behaviors derived from human perception, which are influenced by their immediate environment and the long-term memory of their upbringing.

Through expanded painting, I seek to show the constant attitudes of qualification and enumeration, focused on separating and demarcating everything that is within our reach to be able to control it, and therefore, reflect that in certain communities, there are qualifying adjectives (simple words) that may be associated with social stigmas and human behaviors, in which territories are also violated and transformed.

Himno a la memoria

Could you walk us through your process? How much planning do you do before you jump into a painting? If you do, what are you trying to solve at each stage of it?

Karla: My process has 9 stages of creation. Each one works as a stage to get the final image, from those 9 steps, there are 4 general processes that are crucial for the understanding of the meaning… actually I’ve been recording those process of creation because they are completely fundamental as a VISUAL part of the concept of the art project:

  1. Numerical narrative: The number as a concept word is part of the inspirational work, as a process, the way I start drawing at the canvas y writing “numerical formulas” that marks the path of the grid I want to create at the canvas. Conceptually thinking it might represent the organizational system, as well as, our place on it and the subconscious way that we use to organize everything that surrounds us.

  1. Assembly process: It is formed by two steps, the first one “cutting pieces” and the second one “assembly at the canvas”.

  1. Texture and Movement: at this stage, I seek to talk about the singularity of perceptions points of view, conceived by each spectator.

  1. Color: Right now I am on an artistic transition where I am removing strong colors and letting only base colors like white.
LUNA

So, do we have to have a number, color, name, characteristic to belong? What have you discovered so far with your art?

Karla: I don’t want to discover something in particular about that, or make people start a moral reflection about the perceptional phenomenon and calcification system – it is completely voluntary -, in fact, with this art project I just look for making questions without expecting answers and just talk about this conduct/attitude that clearly affects the society.

Carta tercera

What are you currently working on?

Karla: I am in a process of abandoning color as a visual language, cleaning the image of the work through a process of artistic residence with a Colombian collective named ETRA 0.4 in which I find myself questioning the processes of research and creation.

Oceanos paralelos

How has your art evolved over the years?

Karla: I have almost 12 years when I first face this technique, so, the evolution has been influenced first by the career I studied which is Architecture, at first the material were cement and wood, then it has been changing to the canvas. Nowadays I am questioning the entire visual result, adapting the concept to a contemporary expression were the material is interrogated by the artist statement, also as a Venezuelan artist, the emigration transition in which I’ve been forced to be, due to my country situation political social and economic it has influence into the concept of my artwork statement. The perception itself of simple words as “Venezuelan” “emigrant” “foreigner” and the ways I want to find to talk about it and the calcification process that the Latin-American government uses to control the population.

OBRA ANTES DE

What artists have influenced your work the most? And how much is it influenced by literature, philosophy, mythology, theology, etc.

Karla: At first I´ve been influenced by a kinetical artist from my country (Cruz Diez, Gego, Otero…) Also by the modern artist as Antone Tapies, en some contemporary ones as Marcel Duchamp, Miguel Angel Rojas, Luis Roldan…. Nowadays – in my point of view – the influence is directly turned by the social environment and context where the artist is located and properly living (as the pandemic for example) and the “Visual Artist, literature, philosophy, mythology, etc”. are just referents that we use to find out a way of expression, but NOT something to be followed.

Revivir

What memorable responses have you had to your work?

Karla: Basically, it has been a research process… with highs and downs. I don’t know which response is memorable or which has not been.

The recognition of my work as a women artist from Venezuela has been one of the most important ones, but nowadays, with this globalization, sometimes I found that unmeaningful if we try to put ourselves in an equal position around the world.

What is the best way to reach people that are interested in your art?

Karla: Social media!

Silvido

Are there any upcoming shows or workshops we should know about?

Karla: The residence process results that I am working with Ertra 0.4 (IG. @etra0.4) which comes out in two months. Also, I’ve been submitting my artwork to some Colombian and international galleries contest, so I hope to be publishing good news soon.

Mar 2020

Do you see your art as serving a purpose beyond art?

Karla: Nowadays, IT OBLIGATORY HAS TO.

We are in a contemporary world that doesn’t need representations or personal developments but rather needs quick responses to the changes we are passing through.

Tierra de Girasoles

To learn more about Karla and her art, please make sure to check:

Instagram

Thank you!

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