Soledad Arias Work | Artist Statement & CV | Return to Artist List
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Artist Statement
I explore the materiality of language, the poetic, visual and phonetic dimensions of a text or a word as a two-and three-dimensional entity in the context of human relations. I am drawn to what lies among the uttered and the suppressed. For thinking dictates form, a line, an accent, the cadence of silence, all conform narratives both in drawing and language.
I expose the intersection of the aural and the visual, one where words, text and involuntary sounds are transformed into a visible, physical form. Acoustic wall #2, 2011 (images 05-08) derives from James Joyce’s short story Counterparts. In this work I remove the linear narrative from the story so that the sounds become the sole participants. I strip away from the narrative what is unnecessary in order to reveal its armature, leaving structural notions of the emotional experience. Eventually words are muffled, subtracted, removed from speech, configuring blocks or silent pauses.
In phonetic neon [aha], 2011, (images17-18) I distill down the excess of language to make apparent an unintentional sound. Aha outlines a sonorous pause, an involuntary gap in between words. Drawn from monologues read aloud that derive from my writing snippets, 2009,(images 12-16)records text that vibrates in inaudible patterns, becoming the graphic representation of the cadence of the voice. Four, thirty-three, 2011, (images 19-20) 1 minute=1 inch, evokes John Cage’s statement that silence is not acoustic highlighting physically the activity of sound in an environment.
I explore the materiality of language, the poetic, visual and phonetic dimensions of a text or a word as a two-and three-dimensional entity in the context of human relations. I am drawn to what lies among the uttered and the suppressed. For thinking dictates form, a line, an accent, the cadence of silence, all conform narratives both in drawing and language.
I expose the intersection of the aural and the visual, one where words, text and involuntary sounds are transformed into a visible, physical form. Acoustic wall #2, 2011 (images 05-08) derives from James Joyce’s short story Counterparts. In this work I remove the linear narrative from the story so that the sounds become the sole participants. I strip away from the narrative what is unnecessary in order to reveal its armature, leaving structural notions of the emotional experience. Eventually words are muffled, subtracted, removed from speech, configuring blocks or silent pauses.
In phonetic neon [aha], 2011, (images17-18) I distill down the excess of language to make apparent an unintentional sound. Aha outlines a sonorous pause, an involuntary gap in between words. Drawn from monologues read aloud that derive from my writing snippets, 2009,(images 12-16)records text that vibrates in inaudible patterns, becoming the graphic representation of the cadence of the voice. Four, thirty-three, 2011, (images 19-20) 1 minute=1 inch, evokes John Cage’s statement that silence is not acoustic highlighting physically the activity of sound in an environment.
CV
Born in Buenos Aires, Argentina, lives and works in NYC.
ONE PERSON EXHIBITIONS
2008
Snippets, Sonja Roesch Gallery, Houston, Texas
2007
like you I forgot. Alejandra Von Hartz Gallery.Miami, Florida.
2003
who what where. Galerie Articule, Montreal. Canada
2002
who what where. Banff, Centre for the Arts, Alberta, Canada.
GROUP EXHIBITIONS
2011
Melodymania. RH Gallery. New York, NY
Altered Nature: Notable interpretations from South America.Center for Visual Art. Metropolitan State College of Denver, Co.
lll Semana de Video Iberoamericano. Filmoteca de Andalucia, Cordoba, Spain. Curated by Juan-Ramon Barbancho
Atopia, Film and Videokunst, Oslo, Norway. Curated by Madeline Djerejian.
Tridimensional. Alejandra von Hartz Gallery. Miami, Fl.
2010
Escape from New York, Massey University, Wellington.New Zeland. Curated by Matthew Deleget.
2009
Escape from New York. RMIT University. Melbourne, Australia. Curated by
Matthew Deleget.
I Semana de Video Iberoamericano. Curated by Juan Ramon Barbancho, Sevilla,
Spain
Accrochage. Sonja Roesch Gallery. Houston, Texas.
2008
Escape from New York.Curtin University of Technology, Perth (2008
Minus Space. PS1 Center for Contemporary Art. LIC, New York. Curated by Phong Bui
Ceremonies of Summer. Latincollector. Curated by Monica Espinel
2007
The Field. Jamaica Arts Center, Queens.Curated by Heng-Gil Han
Escape from New York, Non Objective. Sydney, Australia. Curated by Matthew Deleget
2006
Soft Sites, Institute of Contemporary Art. Philadelphia. Curated by Sara Reisman
Media zone: who what where. Jersey City Museum, NJ. Curated by Rocio Aranda-Alvarado.
La Casa. Fem Art 06. Ca la Dona. Barcelona, Spain
Dynasty. MC Gallery
2005
FLOAT. Socrates Sculpture Park. Curated by Sara Reisman
2004
Beginning here: 101 Ways. SVA Gallery, NYC. Curated by Jerry Saltz /Rachel Gugelberger
All Paper. Alejandra Von Hartz Fine Arts, Miami FL
Insights. Alejandra Von Hartz Fine Arts. Miami, FL
2003
Memento. Cuchifritos Project Space. Curated by Berit Fischer
2002
you are here. 42 Street windows. Chashama. NYC
2001
white Lies. Canolfan Gallery. Nagoya, Japan
2000
The S-Files. El Museo del Barrio NYC. Curated by Deborah Cullen and Jasmin Ramirez.
Good Business is the Best Art. Slide Project. The Bronx Museum of the Arts. NYC
BIBLIOGRAPHY
Index. Issue No. 2, September 2011, Melbourne, Australia, Edition of 50
Garland Fielder, Soledad Arias, Gallery Sonja Roesch. Artlies Contemporary Art Magazine, Issue 61, Spring 2009, Houston Texas.
Blanca de la Torre, Ceremonies of Summer, Frederico Seve Gallery, New York, Arte al Dia International, #126, February 2009.
Literal magazine. Latin American voices. Soledad arias.Words vibrate. Pages 14-16, Volume 16. Spring 2009.
Garland Fielder, Critics”s picks. Artforum online, Accrochage. Gallery Sonja Roesch, Houston, Texas, January 2009.
When Art (or in what regard) a collaborative project initiated by Jannette Doyle. Socrates Sculpture Park, August 2007.
Fontana, Lilia. Soledad Arias, Alejandra von Hartz Gallery. Arte al Dia International, Issue 119, page 119, june 2007.
Edith Newhall, Traveling Show finds A World of Influences, ICA, Bartram’s Garden host works, The Philadelphia Inquirer, The Arts, p. 31 May 12, 2006.
Reisman, Sara. Soft Sites, exhibition publication. Institute of Contemporary Art, Philadephia, April 2006
Dynasty. MC Gallery, New York. Essay for exhibition catalogue. 200
Parish, Josh, Socrates Sculpture Park, Queens Tribune, page 22, volume 35 #34, Queens Culture 2005
Queens Tribune. “Float” Over To LIC for Socrates Exhibit., Page 25, volume 35 #31. August 4, 2005.
Triff, Alfredo. City Views and Latin News. Miami News Times, volume 20, issue 3, p.52 April, 2005
Arteamericas, Exhbition catalogue, 2005. Miami Florida.
Fischer, Berit. Memento: Soledad Arias and Madeline Djerejian. New York Arts, International Edition. Vol 9 No 12, p.84 January/ February 2004.
Balcaen, Jo-Anne. Who what where, annual programmation catalogue, 2003-2004, galerie articule, Montreal Canada
Acimovic, Kathy. The Link, Art in the Open, Soledad Arias' exhibit is strewn about Montreal. Volume 24, issue 08, p.08. September 7, 2003
Woodley, Mathew. Montreal Mirror Arts. Talking Pennants. Art Listings Selection, September, 2003.
Voir, Art listings, September, 2003, Montreal, Canada
Gilmour, Brett. Banff Centre artist challenges self-perception through Art. Banff Crag & Canyon, page 6, September 4, 2002
Sirmans, Franklin. “The S-Files”. Time Out New York. Issue No. 255, p.61 August 10-17, 2000.
“The S-Files”. Curated by Deborah Cullen and Yasmin Ramirez. El Museo del Barrio, NY. Exhibition catalogue, p. 12, 2000
EDUCATION
BFA School of Visual Arts, NYC
MFA School of Visual Arts, NYC
AWARDS AND RESIDENCIES
The Marie Walsh Sharpe Art Foundation Space Program 2010-211
Judd Foundation Docent Tour Program. 2008
The Banff Centre for the Arts, Alberta, Canada, 2002
MFA Fellowship.School of Visual Arts, New York, NY, 2000
Born in Buenos Aires, Argentina, lives and works in NYC.
ONE PERSON EXHIBITIONS
2008
Snippets, Sonja Roesch Gallery, Houston, Texas
2007
like you I forgot. Alejandra Von Hartz Gallery.Miami, Florida.
2003
who what where. Galerie Articule, Montreal. Canada
2002
who what where. Banff, Centre for the Arts, Alberta, Canada.
GROUP EXHIBITIONS
2011
Melodymania. RH Gallery. New York, NY
Altered Nature: Notable interpretations from South America.Center for Visual Art. Metropolitan State College of Denver, Co.
lll Semana de Video Iberoamericano. Filmoteca de Andalucia, Cordoba, Spain. Curated by Juan-Ramon Barbancho
Atopia, Film and Videokunst, Oslo, Norway. Curated by Madeline Djerejian.
Tridimensional. Alejandra von Hartz Gallery. Miami, Fl.
2010
Escape from New York, Massey University, Wellington.New Zeland. Curated by Matthew Deleget.
2009
Escape from New York. RMIT University. Melbourne, Australia. Curated by
Matthew Deleget.
I Semana de Video Iberoamericano. Curated by Juan Ramon Barbancho, Sevilla,
Spain
Accrochage. Sonja Roesch Gallery. Houston, Texas.
2008
Escape from New York.Curtin University of Technology, Perth (2008
Minus Space. PS1 Center for Contemporary Art. LIC, New York. Curated by Phong Bui
Ceremonies of Summer. Latincollector. Curated by Monica Espinel
2007
The Field. Jamaica Arts Center, Queens.Curated by Heng-Gil Han
Escape from New York, Non Objective. Sydney, Australia. Curated by Matthew Deleget
2006
Soft Sites, Institute of Contemporary Art. Philadelphia. Curated by Sara Reisman
Media zone: who what where. Jersey City Museum, NJ. Curated by Rocio Aranda-Alvarado.
La Casa. Fem Art 06. Ca la Dona. Barcelona, Spain
Dynasty. MC Gallery
2005
FLOAT. Socrates Sculpture Park. Curated by Sara Reisman
2004
Beginning here: 101 Ways. SVA Gallery, NYC. Curated by Jerry Saltz /Rachel Gugelberger
All Paper. Alejandra Von Hartz Fine Arts, Miami FL
Insights. Alejandra Von Hartz Fine Arts. Miami, FL
2003
Memento. Cuchifritos Project Space. Curated by Berit Fischer
2002
you are here. 42 Street windows. Chashama. NYC
2001
white Lies. Canolfan Gallery. Nagoya, Japan
2000
The S-Files. El Museo del Barrio NYC. Curated by Deborah Cullen and Jasmin Ramirez.
Good Business is the Best Art. Slide Project. The Bronx Museum of the Arts. NYC
BIBLIOGRAPHY
Index. Issue No. 2, September 2011, Melbourne, Australia, Edition of 50
Garland Fielder, Soledad Arias, Gallery Sonja Roesch. Artlies Contemporary Art Magazine, Issue 61, Spring 2009, Houston Texas.
Blanca de la Torre, Ceremonies of Summer, Frederico Seve Gallery, New York, Arte al Dia International, #126, February 2009.
Literal magazine. Latin American voices. Soledad arias.Words vibrate. Pages 14-16, Volume 16. Spring 2009.
Garland Fielder, Critics”s picks. Artforum online, Accrochage. Gallery Sonja Roesch, Houston, Texas, January 2009.
When Art (or in what regard) a collaborative project initiated by Jannette Doyle. Socrates Sculpture Park, August 2007.
Fontana, Lilia. Soledad Arias, Alejandra von Hartz Gallery. Arte al Dia International, Issue 119, page 119, june 2007.
Edith Newhall, Traveling Show finds A World of Influences, ICA, Bartram’s Garden host works, The Philadelphia Inquirer, The Arts, p. 31 May 12, 2006.
Reisman, Sara. Soft Sites, exhibition publication. Institute of Contemporary Art, Philadephia, April 2006
Dynasty. MC Gallery, New York. Essay for exhibition catalogue. 200
Parish, Josh, Socrates Sculpture Park, Queens Tribune, page 22, volume 35 #34, Queens Culture 2005
Queens Tribune. “Float” Over To LIC for Socrates Exhibit., Page 25, volume 35 #31. August 4, 2005.
Triff, Alfredo. City Views and Latin News. Miami News Times, volume 20, issue 3, p.52 April, 2005
Arteamericas, Exhbition catalogue, 2005. Miami Florida.
Fischer, Berit. Memento: Soledad Arias and Madeline Djerejian. New York Arts, International Edition. Vol 9 No 12, p.84 January/ February 2004.
Balcaen, Jo-Anne. Who what where, annual programmation catalogue, 2003-2004, galerie articule, Montreal Canada
Acimovic, Kathy. The Link, Art in the Open, Soledad Arias' exhibit is strewn about Montreal. Volume 24, issue 08, p.08. September 7, 2003
Woodley, Mathew. Montreal Mirror Arts. Talking Pennants. Art Listings Selection, September, 2003.
Voir, Art listings, September, 2003, Montreal, Canada
Gilmour, Brett. Banff Centre artist challenges self-perception through Art. Banff Crag & Canyon, page 6, September 4, 2002
Sirmans, Franklin. “The S-Files”. Time Out New York. Issue No. 255, p.61 August 10-17, 2000.
“The S-Files”. Curated by Deborah Cullen and Yasmin Ramirez. El Museo del Barrio, NY. Exhibition catalogue, p. 12, 2000
EDUCATION
BFA School of Visual Arts, NYC
MFA School of Visual Arts, NYC
AWARDS AND RESIDENCIES
The Marie Walsh Sharpe Art Foundation Space Program 2010-211
Judd Foundation Docent Tour Program. 2008
The Banff Centre for the Arts, Alberta, Canada, 2002
MFA Fellowship.School of Visual Arts, New York, NY, 2000
acoustic wall #1vinyl text on wall
24 feet x 9 feet
2010
acoustic wall #1vinyl text on wall
detail
2010
acoustic wall #1vinyl text on wall
detail
2010
acoustic wall #1vinyl text on wall
detail
2010
acoustic wall #2vinyl text on wall
26 feet x 1 inch
2011
acoustic wall #2vinyl text on wall
detail
2011
acoustic wall #2vinyl text on wall
detail
2011
acoustic wall #2vinyl text on wall
detail
2011
out of breatharchival digital print
9 x 11 inches
2008
out of breatharchival digital print
9 x 11 inches
2008
[lullaby]white neon, word
17 x 4 inches
2008
snippetsarchival digital prints
installation view
2008-9
snippetsarchival digital prints
24 x 30 inches
2008
snippetsarchival digital prints
24 x 30 inches
2008
snippetsarchival digital prints
24 x 30 inches
2008
snippetsarchival digital prints
24 x 30 inches
2008
phonetic neon [aha]white neon light
40 inches x 1/4 inch
2011
phonetic neon [aha]white neon light
detail
2011
four, thirty-threewhite neon light
1"33
2011
four, thirty-threewhite neon light
1"33
2011