HULDA GUZMÁN

(Santo Domingo, Dominican Republic 1984)

STATEMENT
I am interested in achieving what I consider a challenge for the medium of painting: to recount an event in a bi-dimensional space that lacks the help of narrative discourses like the ones in cinema. This makes me want to translate the concepts of temporality and storytelling to the painted image. How to understand the notion of time or narrative in painting? How to tell stories in a medium that is essentially spatial and that at first sight lacks the necessary components for every story?   Firstly, the narrative is constructed on two essential axes: description (detecting the action to indicate the elements in question and their spatial location), and narration (it consists of the representation of actions or happenings, events… etc.) it deals with the transformations of what’s described). We have the case of those images that suggest in their own immobility a whole time course, that happens thanks to the tensions of the used plastic elements (composition, direction, rhythm, etc.) or by the depicted scene (the characters’ expressions, objects that take us to different moments in the story… etc.).   Since the origins of figurative painting, and at least until the late Renaissance, we express ourselves through a story. Leon Battista Alberti’s theory about painting defined history as the main painter. Narrative painting takes such importance that, in 1620, Vicenzo Giustiniani established, in the first official appearance of the autonomous “genres” with respect to narration, different ranks for the topics of paintings, with the highest one being historic themes, while portraits, landscapes, still life, and so on were valued as secondary. As a consequence of this, the fact that a painting is “still” and “has no time”, and yet is compelled to transmit certain narrative, establishes a problem that painters have exercised for centuries, proposing new solutions and adapting them to the material possibilities of work. Another big influence for me with regards to narrative and painting are the Mexican altarpieces and exvotos. These small devout paintings in the form of a short story, dedicated to a particular saint as thanks for a miracle, generally consist of three elements: pictorial representation of the event, narrative, and the portrait of the saint. Because it’s especially an example of popular or folk art, what interests me is to give evidence of the naivety of the treatment, which I actually believe represents an attribute that contributes a lot to the narrative, because simple minds resort to symbolisms and simplifications, synthetizations that make the transmission of the message easier.

BIO
Hulda Guzmán studied visual arts and illustration at Altos de Chavón School of Design in the Dominican Republic. She also holds a degree in visual arts from the National School of Visual Arts, Mexico, specializing in photography and mural painting.
She has participated in individual and group exhibitions in Santo Domingo, Miami, New York, Seoul, Guatemala, and Los Angeles; most recently in solo projects at ARCOMadrid in February 2015, as well as solo exhibitions in VOLTA NY in March 2015, and at Galería Machete, Mexico City in June 2015. Other exhibitions include Injoy (2014) at the Lyle O. Reitzel Gallery, Santo Domingo; Under construction (2013), William Road Gallery, London; On common ground (2013), Art Museum of the Americas, Washington, DC; and Power Dominicana and solid friends (2008) at the Miami Art Basel beach, Lyle O. Reitzel Gallery, Miami.
Her works can be found in the permanent collections of Centro León Jimenes (Santiago); Fundación Casa Cortés (Viejo San Juan, Puerto Rico); Antonio Murzi Collection (Panama); and Patricia Phelps de Cisneros Collection, as well as other private collections in the Dominican Republic, China, Spain, France, Italy, and the United States.
In 2015 she was the third artist to participate in the Davidoff Art Initiative art residency in New York.

EDUCATION
2002-2004  Fine Arts and Illustration in the Altos de Chavón Design School, (Dominican Republic) affiliated to the Parsons School of Design (New York)
2002-2003  Párrafo 2 Grant, anatomical drawing courses with Melanie Reims,  Altos de Chavón, School of Design
2003      One semester scholarship in the Altos de Chavón, School of Design
2004      Scholarship for a BA in the Parsons School of Design, de Nueva York
2004-2006  BA in Visual Arts in the National School of Visual Arts (ENAP) Mexico City. Specialty in photography and mural painting.
2009      Painting prize “25th Visual Arts Biennial 2009”, Museum of Modern Art, Santo Domingo, Dominican Republic
2010      Finalist: XXIII Art Contest Eduardo León Jimenes, Santiago, Dominican Republic

EXHIBITIONS
2017      Individual projects in ArteBA; Galería Machete Solo show; Curated by Sofia Hernandez Chong Cuy; Buenos Aires, Argentina
2017      Women and Art, International Women's Day, UNESCO, Paris.
2016      Individual projects in Untitled, Miami
2016      Individual projects in Zona MACO, Galería Machete, México City
2015      Lanza del Norte. [North Lance] Individual show in Galería Machete, Mexico City
2015      Individual projects in Volta, New York
2015      Individual projects in ARCOmadrid
2014      Injoy.Individual show in Zona Colonial. Lyle O. Reitzel Gallery. Santo Domingo, Dominican Republic.
2013      27th Visual Arts Biennial. Museum of Modern Art. Santo Domingo, Dominican Republic.
2013      Ultraviolet Projects. Museum of Contemporary Art and Design. Costa Rica.
2013      Under construction. William Road Gallery. London.
2013      On common ground. Art Museum of the Americas. Washington, DC.
2013      Avant garde in La Castilla. Santo Domingo, Dominican Republic.
2012      XIV Biennial Art Contest Eduardo León Jimenes. Santiago, Dominican Republic. Award.
2011      Mayami son machín. Ultraviolet projects gallery diet. Miami, Fl.
2010      Estetica sold(16th anniversary) [Aesthetics sold], Lyle O. Reitzel Gallery. Santo Domingo, Dom. Rep.
2010      XIII Biennial Art Contest Eduardo León Jimenes. Santiago, Dom. Rep. Audience award.
2010      Scope New York 2010 stand Lyle O. Reitzel Gallery, Lincoln Center Damrosch Park, New York.
2009      Borderless Generation: Contemporary Art from Latin America, Korea Foundation Cultural Center. Seoul, Korea
2008      Power Dominicana and solid friends in the beach of Miami Art Basel 08, Lyle O. Reitzel Gallery, Wynwood District Art, Miami, Fl.
2008      Start again, Lyle O. Reitzel, Miami, Florida
2008      Urgent: Emerging art: Hulda and Gustavo, Lyle O. Reitzel Gallery, Santo Domingo, Dom. Rep.
2007      Double glazing. New York.
2007      Sarmiento Urban Art. Santo Domingo. Dom. Rep.
2006      Shower. El Encuentro Artesanal. Santo Domingo. Dom. Rep.
2006      Theater House. Santo Domingo. Dom. Rep.
2004      Casa de Chavón Gallery. Santo Domingo. Dom. Rep.
2004      Altos de Chavón Gallery. La Romana, Dom. Rep.

RESIDENCIES
2015      Davidoff Art Initiative, New York

WORK IN COLLECTIONS
Patricia Phelps de Cisneros Collection
Permanent collection of the Centro León Jimenes (Santiago)
Permanent collection of the Casa Cortés Foundation (Old San Juan, Puerto Rico)
Antonio Murzi Collection(Panama)