Flecha

Ana H. del Amo

Ana H. del Amo’s research (Cáceres, 1977) through form focuses on expressing herself through color, line and materials, giving rise to pieces of an abstract nature of various formalizations; between intuitive geometry and gestures, created through relationships and dialogues with materials. The work process is not at all orthodox, for this reason the method used varies depending on the characteristics of each material and the context. It is through play and dialogue that the works are resolved, sometimes using the gestures of the incorporation of color and in others respecting the characteristics or scars of the materials and objects. Each piece offers us one possibility out of a thousand, and this is where the creator puts the whole purpose of it. Solved in a subtle way, where the play of possibilities is present, in the processes. Bright colors, even fluorescent, shapes that refuse to be enclosed and even less classified. Forms with a refined appearance, where we can appreciate details or errors of the pulse of the action of creating.

Ana H. del Amo holds a Bacherol of Fine Arts from the University of Barcelona. She has exhibited, individually and collectively, in spaces such as the Can Felipa Cultural Center, Barcelona; Velázquez House, Madrid; MAC Unión Fenosa, A Coruña; Centre del Carme, Valencia; Josep Renau Room, University of Valencia; Cáceres Museum; Parliament of Extremadura, Mérida; Pérez Comendador-Leroux Museum, Hervás, Cáceres; in La Lance, Switzerland and Cáceres Abierto among others. She was a fellow of the Spanish Academy in Rome in 2005, in 2006, 2008 and 2018 she was awarded the Francisco de Zurbarán Plastic Artists Aid by the Extremadura Board. She has been awarded the DKV Acquisition Award, the Nocapaper Collection Award and the Casa de Velázquez Award at Estampa in 2016. In 2019 she was awarded a scholarship the Pollock-Krasner Foundation of New York grant and in 2020 the creation aid of the Vegap.

LINKS

“Una nueva sensualidad pictórica”. Posdata, Levante, 27 de febrero de 2016. Crítica por Juan Bautista Peiró