{"id":120,"date":"2018-08-05T07:06:05","date_gmt":"2018-08-05T05:06:05","guid":{"rendered":"http:\/\/wp.anadevis.com\/home-grid\/"},"modified":"2024-10-19T10:35:54","modified_gmt":"2024-10-19T15:35:54","slug":"home-grid","status":"publish","type":"page","link":"https:\/\/anadevis.com\/en\/","title":{"rendered":"Home-Grid"},"content":{"rendered":"\t\t
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COSAS SOBRE MI<\/h2>
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La obra de Ana Mar\u00eda Devis est\u00e1 encadenada por la insistencia en el uso de ciertos materiales que dan cuenta de una historia, la historia de su mirada. Desde entonces, Devis ha articulado con fluidez el trabajo mat\u00e9rico y el dibujo incorporando elementos gr\u00e1ficos dentro de materiales org\u00e1nicos o dibujando en tres dimensiones y con gran precisi\u00f3n. Estos dos elementos, la precisi\u00f3n gr\u00e1fica y la escogencia de una materia prima que habla por s\u00ed misma, son fundamentales para entender su pr\u00e1ctica. Esta conjugaci\u00f3n de elementos dis\u00edmiles ha prevalecido en el tiempo durante sus \u00faltimos proyectos, al igual que una coherencia y concatenaci\u00f3n sutil entre ellos, porque vienen de un mismo lugar: sus experiencias de vida canalizadas a trav\u00e9s de su cuerpo.\u00a0<\/p>

Utilizar el cuerpo como canal, en este caso, ha generado procesos de larga duraci\u00f3n de una calidad meditativa que son, adem\u00e1s, muy exigentes a nivel f\u00edsico. Inevitablemente, en su trabajo se establecen puntos de contacto con la intimidad femenina a ra\u00edz de su conexi\u00f3n con el cuerpo. Estos puntos de contacto no se dan desde un marco te\u00f3rico feminista, sino en el reconocimiento de los sistemas de vida que intersectan el ser mujer- sus objetos personales, sus rutinas, la red de afectos que tiene con sus hijas, sus amigas, su mam\u00e1. Este trabajo con los ecosistemas de la feminidad ha derivado tambi\u00e9n en la creaci\u00f3n de organismos de ficci\u00f3n, algunos seres ya muertos cobran una segunda vida a trav\u00e9s del dibujo; otras criaturas inquietantes, tal vez monstruosas, nacen con la recuperaci\u00f3n y conjunci\u00f3n de residuos varios.\u00a0<\/p>

Estas criaturas inventadas operan dentro de entornos m\u00e1s grandes: ninguna est\u00e1 aislada, ninguna es \u00fanica y muchas veces, en conjunto, crean una suerte de topolog\u00eda o paisaje infinito, detallado e intrincado.\u00a0\u00a0El car\u00e1cter insistente y obsesivo de estos conjuntos viene, por otro lado, de una manera personal de trabajar con la materia que se podr\u00eda describir como una forma de\u00a0investigaci\u00f3n sumergida<\/i>. Se trata de investigar un material conviviendo con \u00e9l todos los d\u00edas, dej\u00e1ndose invadir por \u00e9l, toc\u00e1ndolo, vi\u00e9ndolo constantemente, marinando su presencia en un espacio, casi d\u00e1ndole un hogar para entender c\u00f3mo el cuerpo reacciona a \u00e9l.<\/p>

In\u00e9s Arango<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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>> Vea mi portafolio m\u00e1s reciente <<<\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\n \n Somos, We Are. Pelo natural de mis hijas, amigas y mi madre. 2024 <\/a>\n <\/h3>\n <\/header>\n <\/div>\n <\/div>\n <\/article>\n<\/div>
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\n \n Somos, We Are. Capullos de seda, hilo de seda y madera nogal.2024 <\/a>\n <\/h3>\n <\/header>\n <\/div>\n <\/div>\n <\/article>\n<\/div>
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\n \n Obsesi\u00f3n. 2024 <\/a>\n <\/h3>\n <\/header>\n <\/div>\n <\/div>\n <\/article>\n<\/div>
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\n \n Proliferaci\u00f3n. 2023 <\/a>\n <\/h3>\n <\/header>\n <\/div>\n <\/div>\n <\/article>\n<\/div>
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\n \n De la serie Guachaca. 2022-2023 <\/a>\n <\/h3>\n <\/header>\n <\/div>\n <\/div>\n <\/article>\n<\/div>
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\n \n Proceso Guachaca. 2022-2023 <\/a>\n <\/h3>\n <\/header>\n <\/div>\n <\/div>\n <\/article>\n<\/div>
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\n \n De la serie: \u201cAxolotls\u201d paralelo a Relaciones Simbioticas. 2021-2022 <\/a>\n <\/h3>\n <\/header>\n <\/div>\n <\/div>\n <\/article>\n<\/div>
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\n \n Relaciones Simbi\u00f3ticas. 2021 <\/a>\n <\/h3>\n <\/header>\n <\/div>\n <\/div>\n <\/article>\n<\/div>
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\n \n Proceso de Relaciones Simbi\u00f3ticas. 2019 – 2021 <\/a>\n <\/h3>\n <\/header>\n <\/div>\n <\/div>\n <\/article>\n<\/div>
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\n \n De Voz a Voz. 2020 <\/a>\n <\/h3>\n <\/header>\n <\/div>\n <\/div>\n <\/article>\n<\/div>
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\n \n Proceso de la serie “Bandadas”\u00a0Wisirare. 2019 <\/a>\n <\/h3>\n <\/header>\n <\/div>\n <\/div>\n <\/article>\n<\/div>
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\n \n Espacio 23. 2019 <\/a>\n <\/h3>\n <\/header>\n <\/div>\n <\/div>\n <\/article>\n<\/div>
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\n \n \u201cInfinito\u201d Pinta Miami. 2018 <\/a>\n <\/h3>\n <\/header>\n <\/div>\n <\/div>\n <\/article>\n<\/div>
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\n \n Infinito. 2018 <\/a>\n <\/h3>\n <\/header>\n <\/div>\n <\/div>\n <\/article>\n<\/div>
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\n \n Esto es temporal. 2017 <\/a>\n <\/h3>\n <\/header>\n <\/div>\n <\/div>\n <\/article>\n<\/div>
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\n \n Proceso Infinito. 2016\/17 <\/a>\n <\/h3>\n <\/header>\n <\/div>\n <\/div>\n <\/article>\n<\/div>
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\n \n Desde la hoguera. 2016 <\/a>\n <\/h3>\n <\/header>\n <\/div>\n <\/div>\n <\/article>\n<\/div>
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\n \n La mujer tortuga. 2016 <\/a>\n <\/h3>\n <\/header>\n <\/div>\n <\/div>\n <\/article>\n<\/div>
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\n \n Bocetos mujer tortuga. 2015\/16 <\/a>\n <\/h3>\n <\/header>\n <\/div>\n <\/div>\n <\/article>\n<\/div>
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\n \n Subjeto al objeto. 2014 <\/a>\n <\/h3>\n <\/header>\n <\/div>\n <\/div>\n <\/article>\n<\/div>
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\"home\"<\/a><\/div> <\/div>\n\n
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\n \n M\u00e1quinas. 2012 <\/a>\n <\/h3>\n <\/header>\n <\/div>\n <\/div>\n <\/article>\n<\/div>
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\n \n Explosi\u00f3n demogr\u00e1fica. 2012 <\/a>\n <\/h3>\n <\/header>\n <\/div>\n <\/div>\n <\/article>\n<\/div>
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\n \n Subjeto. 2012 <\/a>\n <\/h3>\n <\/header>\n <\/div>\n <\/div>\n <\/article>\n<\/div>
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\"partitura\"<\/a><\/div> <\/div>\n\n
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\n \n Partitura. 2003 <\/a>\n <\/h3>\n <\/header>\n <\/div>\n <\/div>\n <\/article>\n<\/div>
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\n \n Serie Partitura. 2000 <\/a>\n <\/h3>\n <\/header>\n <\/div>\n <\/div>\n <\/article>\n<\/div>
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\n \n Mujer Mutante. 1998 <\/a>\n <\/h3>\n <\/header>\n <\/div>\n <\/div>\n <\/article>\n<\/div>
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\n \n \u00b495 – \u00b497 <\/a>\n <\/h3>\n <\/header>\n <\/div>\n <\/div>\n <\/article>\n<\/div><\/div>