10 QUESTIONS FOR OFELIA ANDRADES

  Ofelia Andrades  was born on September 29th, 1982 in Santiago, Chile. From 1984 to 1992 she lived in Buenos Aires, Argentina. From an early age Ofelia attended art workshops where she learned the different techniques of painting and drawing, with particular emphasis on oil painting.  She began her professional studies at the Experimental Art School (1997-2000) where she obtained a technical degree in Visual Arts with a major in painting and graphics. Ofelia later obtained a Bachelor’s degree in Visual Arts with a painting emphasis (2003-2007) at the University of Chile where she was finally granted the title of professional painter in 2010. Among 2012 and 2014 she lived in London, United Kingdom. Her work made appearing internationally on the 8th version of "Arte y Libertad" (2013) invited by the director of the gallery. and in the proyect "Museum of realist Art" Boston, Masachussetts the same year. During the november and december of 2016 Ofelia was the only painter authorized by the Capitolini Museum in Rome to copy the  original painting "San Juan Bautista" of Caravaggio while exhibited at Museo Nacional de Bellas Artes, Chile. That painting of Caravaggio had never go out of Rome before, that was the firt time out of Italy.   It is been invitated two years consecutive by Poets&Artist to be part of the special edition; "The new Nude" on 2017 and "Painting the figure Now" this year.  She lives and work in Santiago, Chile. Currentlly preparing her next solo exhibition in Buenos Aires, Argentina and in Italy. Among her group exhibitions in Chile and her workshops of "Painting materials and antique tecniques" in Santiago and Buenos Aires. 

Ofelia Andrades was born on September 29th, 1982 in Santiago, Chile. From 1984 to 1992 she lived in Buenos Aires, Argentina. From an early age Ofelia attended art workshops where she learned the different techniques of painting and drawing, with particular emphasis on oil painting.

She began her professional studies at the Experimental Art School (1997-2000) where she obtained a technical degree in Visual Arts with a major in painting and graphics. Ofelia later obtained a Bachelor’s degree in Visual Arts with a painting emphasis (2003-2007) at the University of Chile where she was finally granted the title of professional painter in 2010. Among 2012 and 2014 she lived in London, United Kingdom. Her work made appearing internationally on the 8th version of "Arte y Libertad" (2013) invited by the director of the gallery. and in the proyect "Museum of realist Art" Boston, Masachussetts the same year. During the november and december of 2016 Ofelia was the only painter authorized by the Capitolini Museum in Rome to copy the  original painting "San Juan Bautista" of Caravaggio while exhibited at Museo Nacional de Bellas Artes, Chile. That painting of Caravaggio had never go out of Rome before, that was the firt time out of Italy. 

It is been invitated two years consecutive by Poets&Artist to be part of the special edition; "The new Nude" on 2017 and "Painting the figure Now" this year.

She lives and work in Santiago, Chile. Currentlly preparing her next solo exhibition in Buenos Aires, Argentina and in Italy. Among her group exhibitions in Chile and her workshops of "Painting materials and antique tecniques" in Santiago and Buenos Aires. 

Q&A

1- What is different from your work than others when painting the figure now?
It is allegorical and I tend to quote,  Art history in a formally but lucid way and in a mixture with my own biographical history. Also my style seems particular to me from the rest of the invited painters. For this painting specifically I have thought consciously about the colors and light as a reminder of Latin America and the contrasts between the European inheritance and the local culture. The green and red is a metaphor of that constant vibrant feeling, specially because for me, this  painting, Allegory II, represents conciliation and love in the wide sense of the concept. 

2- How important is process versus end results?
For some time the process has become perhaps more important than the final result. Although I keep a clear idea, I stopped forcing the final result to enjoy the creative process in all its phases. Even the technical aspect became an integral part of my expressive work when I investigated its more scientific aspect, which leads me to understand painting as the result of several layers, which is related to layers of meaning as well. Since then I enjoy it much more and I have been able to gradually incorporate elements that seemed urgently necessary to me as they are the most dreamlike, intuitive, emotional or psychological aspect and be able to harmonize it with the most rational aspect. That has been a goal in recent years, to let an unknown or unconscious channel flow.

3- What is your ultimate goal when painting the figure?
My final goal is always to deepen the existential and psychological aspect of the human being. Connect with the public through the elements that we all share, which are emotions, moods. Beyond all the theoretical, rhetorical and conceptual aspect more typical of the visual language that is always present in my work in the form of parody, quotation or any other reflection of aesthetic or formal type, always my effort is put in communicating from my own trips and particular existence, the human condition, constantly in change and development through a language as universal as possible, so that it is readable in any degree by all types of public.

4 -What do you like best about your work?
That it is honest and profound. That it is reflective about my own existence in this world and especially as a woman. That it is critical and subversive, although few see it that way, and free of established conventions.

5- What do you do you like least about your work?
The fear of error, sometimes ...

6 -Why the figure?
Because it contains all the complexity of the world, culturally. It is the recipient of the entire history of humanity and civilization. All that density of social, cultural and existential aspects are the most difficult to represent, and for all this it becomes a main theme for me.

7- Which are your greatest influences?
In painting are: Rembrandt, Caravaggio, Velazquez, Goya, Degas, Frida Kahlo, David Hockney and Cindy Sherman. In reading, essays about gender and feminism. 

8- What is your background?
I think I was born with a brush in my hand. I grew up drawing and when I had my first set of oils at 10 years old, I fell irretrievably in love. So 25 years have passed since this obsessive and beautiful relationship. I went through many influences, from graphics, Pop Art, photography and cinema, until I stopped for many years in European painting and its great masters, fascinated by the period between the sixteenth and nineteenth centuries. I can say that recently, after much study and exploration, I can consider myself a more autonomous and personal artist, which does not mean that I stop learning and exploring.

9- Name three artists you'd like to be compared to in history books.
I would prefer not being compare to any other artist, but could be Rembrandt, Goya or Frida Kahlo

10- What is your favorite work in the exhibition besides your own and why?
I think it is the painting Helium by SUSANNAH MARTIN because it is a group of wild women enjoying a kind of mystical dream. It is lucid, irreverent and chromatically intense and a very harmonious in composition.