Ana Mercedes Hoyos
Born in 1942, in Bogota, Columbia
Ana Mercedes Hoyos was one of the most important representatives of Colombian art, whose work ranged from abstractionism to realism, and from figurative to geometrical art. Her consistent creative work allowed her to receive public recognition at a national and international level.
Ana Mercedes Hoyoswas born in Bogotá in 1942. She began her journey through the world of art from an early age by traveling around Europewith her parents, and visiting the most important museums in the world. She ultimately became familiar with all the great historical artworks.
Her foray as an artist took place in the sixties. While being a student at Universidad de los Andes (and the disciple of the critic and scholar Marta Traba), she was profoundly influenced by the Pop Art movement that absorbed the attention of many artists of the time. At this stage, she produced a series of billboards paintings, which reaffirm her penchant for the themes of commercial consumerism and color planimetry as present in Pop Art.
In her subsequent paintings made in the late sixties, she makes references to architecture, an interest inherited from her father. Her concerns with the geometric and constructive forms prevailed in the series Ventanas (Windows). In it, the management of color can be seen in the approach to the shadows and the semi-darkness, through which she explores space. This interest would then take her, during the seventies, to approach the opening space of the window. She focused on the printed space beyond the geometry to reduce the architectural reference on the canvasses itself; only represent the sky, or even better, the framing of the firmament, which was practically white, although it was possible to identify some bluish tones, with some effort. This body of work that the artist called Atmósferas (Atmospheres)constitutes her minimalist stage. With it, she won First Prize in the National Artists Salon of 1978.
Gradually, Hoyos would move away from the inflexibility of modern movements to return to figurative painting and the use of representation. The first paintings she made after Atmósferas are works in which the geometry play a major role and where the curved line expresses itself. In the early eighties, Ana Mercedesturns her sights to the soil, giving importance to the line of the horizon. The series known as Paisajes (Landscapes)involves the emergence of color.
By the mid-eighties, her approach to the idea of the still life after Ventanas, Atmósferas and Paisajes is inspired by major artists of art history such as Caravaggio, Zurbarán, Van Gogh, Jawlensky and Lichtenstein. This body of work includes Girasoles (Sunflowers), with which she pays homage to Van Gogh, el Primer Bodegón en la Historia del Arte (the First Still Life in Art History), to Caravaggio, and el Gran Desconocido (the Great Unknown), which honors Jawlensky.
Subsequently, there is a conceptual shift, which happens by accident during a family trip to Cartagena. Her first encounter with which would later become the core of her work took place at the tourist beaches and the Bazurto market; The Palangana, the metal and circular basin, full of fruit, which are arranged in balance. According to the artist, the organization of the container matched the research on constructivism and cubism that she was conducting during her review of the history of art. Ever since that moment, a strong relationship would grow between Ana Mercedes Hoyos and the community of San Basilio de Palenque.
Thus, as of 1986 and supported by photographic images she took, the stage of the Bodegones de Palenque (Still Lifes of Palenque)began, where the interpretation of the containers of fruit or basins would become the central focus of her work. In them, the incidence and careful arrangement of light, the fragmented analytical compositions where geometry becomes essential, and other subtle and suggestive arrangements of color, are able to imprint, on each fruit basin, on her bazurtos or on the celebrations, an indisputable ingredient of existence.
These still lifes are just the beginning of the investigation conducted by Ana Mercedes Hoyos, where her works will explore the customs of the palenqueros such as boxing, community games from which the Vara de Premio is derived, as well as the procession parades and celebrations where the colored dresses of women stand out.
Later, Ana Mercedes fixed her attention on the outfits that the young girls wear during the processions and celebrations, especially the bows. These are presented as an illustration of a universe in which, the returning to the synthesis of geometry and color, are distinctive cultural elements that symbolize freedom, friendship and solidarity gathered with the union of the two bows.
Ana Mercedes Hoyos’paintings belong to a Latin American collective imagination and reveal an attitude and approach to the race and black culture that is completely different. Her works are a thoughtful look and a testimony of life of these communities, which were initially included in the history of Colombian Art by Guillermo Wiedemann and found a voice in the different generations of Colombian artists.
Selected Solo Exhibitions
2017 Ana Mercedes Hoyos: Abstracción Convergente , Nueveochenta Gallery, Colombia, Bogota
2014 Ana Mercedes Hoyos, Nueveochenta Gallery, Colombia, Bogota
2008 Ana Mercedes Hoyos, Addison/Ripley Gallery, USA, Georgetown
Selected Group Exhibitions
2015 Folding: Line, Space & Body/ Latin American Women Artists Working Around Abstraction, Henrique Faria, New York, USA, Upper East Side
1968 Environmental Spaces, Museum of Modern Art, Bogotá
1970 Erotic Art, Galería Belarca, Bogotá
1970 Salon of the Americas, Museo La Terulia, Cali, Colombia
1971 Graphic Artists of Colombia, Biblioteca Luis Angel Arango, Bogotá
1972 Institute of Latin American Art, Santiago, Chile
1972 Biennial Exhibition, House of the Americas, Havana, Cuba
1974 Galería Belarca, Bogotá
1975 1900-1975: Landscape, Museum of Modern Art, Bogotá
1976 Museum of Modern Art, Bogotá
1977 X Paris Biennial, Paris
1977 New people of the World, Bogotá National Museum, Bogotá
1978 Art Now III: Latin America – Sensible Geometry, Museum of Modern Art, Rio de Janeiro, Brazil
1978 Eugenio Mendoza Foundation, Caracas, Venezuela
1978 Galería San Diego, Bogotá
1979 Galería Belarca, Bogotá
1979 La Galería, Buenos Aires, Argentina
1979 II Biennial Painting Exhibition, Cagnes-Sur-Mer, France
1979 Prints and Drawings of Colombia, Biblioteca Luis Angel Arango, Bogotá
1979 XI International Biennial, Museum of Modern Art, Tokyo
1980 Premio, Dibujo Miró, La Fundacion Miró, Barcelona
1980 Canvases from Five Artists, Galería San Diego, Bogotá
1980 Panama Institute of Art, Panama City, Panama
1980 Galería Condor, Barranquilla, Colombia
1981 Centro Colombo-Americano, Bogotá
1981 Inaugural Exhibition, Galería Santa Fe, Bogotá
1981 El Paisaje Liberrimo, National Art Gallery, Caracas, Venezuela
1981 IV Biennial Art Exhibition of Medellin, Medllin, Colombia
1982 Contemporary Colombian Graphics, Colombian Embassy, Bonn, Germany
1982 Colombian Art From the Sixties, Museum of Modern Art, Bogotá
1982 American Relations of New York, New York
1983 Art from the Workshops, Art From the Streets, School of Fine Arts, Paris
Colombian Paintings, Cultural Agenda on Colombia, Palacio de Bellas Artes, Mexico City, Mexico
1984 1st Biennial of Havana, Havana, Cuba
Colombia: Half a Century of Painting and Sculpture, National Anthropological Museum, Mexico City, Mexico
1984 Galería Garces Velasquez, Bogotá
1985 Galeria Confamiliar, Barranquilla, Colombia
1985 XVIII International Biennial of São Paulo, São Paulo, Brazil
1985 A Vision of Colombia, Santillana Foundation, Santillana del Mar, Spain
1985 One Hundred Years of Colombian Art, Museum of Modern Art, Bogotá
1986 National Press Club, Washington, D. C.
1986 Abstract Vision, MOCHA New York, New York
1987 Galería Alfred Wild, Bogotá
1988 Museum of Modern Art, Bogotá
1988 Museo La Tertulia, Cali, Colombia
1989 Galería El Museo, Bogotá
1989 6 at 6: Contemporary Colombian Art, Rempire Gallery, New York
1989 Women Artists, Galería Alfred Wild, Bogotá
1990 Rempire Gallery, New York
1990 Colombian Art, Fuji Museum of Tokyo, Tokyo
1990 Rempire Gallery, New York
1991 Rempire Gallery, New York
1991 Galería Epoca, Santiago, Chile
1991 National Museum Colculture, Colombia
1991 Galeria Espacio San Salvador, El Salvador
1991 Colombian Center, Permanent Mission of Colombia to the UN, New York
1991 Three Colombian Artists, Museum of Modern Art, Cali, Colombia
1992 Galeria Espacio San Salvador, El Salvador
1992 Museum of Modern Art, Rio de Janeiro, Brazil
1992 Galería Alfred Wild, Bogotá
1992 Colombian Contemporary Art, Expo Sevilla 92, Seville, Spain
1992 Galería El Museo, Bogotá
1993 Galería Fernando Quintana, Bogotá
1993 Galeria Ramis F. Barquet, Monterrey, Mexico
1993 Museo Reyo, Roldanillo, Colombia
1993 Yoshii Gallery, New York
1994 Casa de la Cultura de Mexico, Bogotá
1994 Galería Tovar y Tovar, Bogotá
1994 Yokohama Museum of Art, Yokohama, Japan
1995 Associated American Artists, New York
1995 Latin American Women Artists 1915-1995
1995 The National Museum of Women in the Arts, Washington, D.C.