Tania Fuenzalida

Franco-Chilean. I was born, in this long tongue of land between the Andes Cordillera and the Pacific Ocean, Chile.

After the 1973 coup d'état, my family went into exile in France, in the Languedoc. In 1981, we went to live in Mozambique, a country in flux, riddled with destructive guerrillas. In 1983, my parents decided to send us to Paris, with the family, for our safety. J

I am 16 years old and during this short stay comes to me the desire to study at the Beaux-Arts. However my parents had other projects, and in 1984, we returned to Chile, despite the dictatorship, to live off the land. I finished high school and started studying photography. But this country is once again synonymous with violence and family breakdown.

In 1988, major, I decided to return to France. Five years in Paris where I studied university, photography, cinema / video and finally plastic arts. During my studies, a major incident will decide me to deepen the practice of painting. At that time, I was totally adrift, my soul in pain. The vagaries of life allow me to come back to Languedoc and, like a ship, be wrecked there. Drop your studies, and finally hit rock bottom. Painting becomes a support, tells me, becomes a discreet guide, allowing me to find links but it is also a challenge, that of facing the world with what we are, weaknesses and strengths. Come out of his hole. It took me twenty years of painting and existential turmoil to reach a maturity and a confidence in my creative impulse by which I wish to give the best of myself.

Since 2001, I have lived near this magnificent chain of mountains that are the Pyrenees, in Ariège. I started a family. Creating is the watchword of my journey through this life.

Over the course of my experiments, I have seen myself run through my own imagination. Through this, I rediscovered my South American origins, a facet of my history that exile had deprived me of.

I went towards more and more abstraction of this richness that I sought to translate into symbolic graphics.

In my artistic approach, I draw on this intuitive, rich and colorful memory. I draw conductive lines that allow me to probe subjects that make my creative strings vibrate. I thus explore the symbolism of creation, in the feminine, in its simplest to the most complex forms, from the world of DNA and cellular, to particles and filaments. My research is very often meticulous in their plots, their dotted lines and their lines.

Threads that weave canvases and wefts, there is only one step for links to be created between cultures: interbreeding that resonates with my quest as an esthete, the pre-Columbian art of the Americas, the Aboriginal art from Australia, Africa.

This is how we find in my works bright colors, their intertwining, their contrasts in abstract worlds where I insert human faces and bodies.

A painting that wants to be free to take off.