FLOR GARDUÑO "VESTIDO ETERNO, MEXICO" 1999
Flor Garduño's (b. 1957) black-and-white photographs articulate a sustained dialogue between humanity and nature, tradition and time.
Garduño studied visual arts at the Old San Carlos Academy (UNAM), where the surrealist pedagogy of Hungarian photographer Kati Horna proved a formative influence on her aesthetic development. In 1979 she left formal study to serve as darkroom assistant to Mexican photographer Manuel Álvarez Bravo. During this time, Garduño dedicated herself to personal photographic work while mastering palladium, platinum, and gelatin silver printing.
Deeply conscious of her cultural heritage, Garduño’s oeuvre pays homage to the peoples and landscapes of the Americas, with particular attention to communities and mythologies existing at the margins of Western modernity. Throughout the 1980s and 1990s she would produce bodies of work that intertwine portraiture, indigenous presence, ritual, and elemental nature.
Since the early 2000s, her practice has taken on a more formalist clarity, focusing on still lifes, landscapes, and female nudes. "Vestido Eterno" is exemplary this era. Rendered with a pictorial softness and compositional restraint, the work suggests a realm of tranquillity and timelessness. Garduño offers a symbiotic moment between the beauty of nature and womanhood, recalling the quiet intensity and sculptural lyricism of Edward Weston.
Garduño's work can be found in the permanent collections of the MoMA, New York; the National Gallery, Washington, DC; and the Art Institute of Chicago, among others.
Questions about this piece? Contact us, call +1.416.704.1720, or visit our Toronto Gallery.
"Vestido Eterno (Eternal Dress), Mexico"
1999
Gelatin Silver Print
Signed on verso
20"H 16"W (sheet)
24.75"H 20.75"W (framed)
Original: $5,000.00
-70%$5,000.00
$1,500.00More Images
FLOR GARDUÑO "VESTIDO ETERNO, MEXICO" 1999
Flor Garduño's (b. 1957) black-and-white photographs articulate a sustained dialogue between humanity and nature, tradition and time.
Garduño studied visual arts at the Old San Carlos Academy (UNAM), where the surrealist pedagogy of Hungarian photographer Kati Horna proved a formative influence on her aesthetic development. In 1979 she left formal study to serve as darkroom assistant to Mexican photographer Manuel Álvarez Bravo. During this time, Garduño dedicated herself to personal photographic work while mastering palladium, platinum, and gelatin silver printing.
Deeply conscious of her cultural heritage, Garduño’s oeuvre pays homage to the peoples and landscapes of the Americas, with particular attention to communities and mythologies existing at the margins of Western modernity. Throughout the 1980s and 1990s she would produce bodies of work that intertwine portraiture, indigenous presence, ritual, and elemental nature.
Since the early 2000s, her practice has taken on a more formalist clarity, focusing on still lifes, landscapes, and female nudes. "Vestido Eterno" is exemplary this era. Rendered with a pictorial softness and compositional restraint, the work suggests a realm of tranquillity and timelessness. Garduño offers a symbiotic moment between the beauty of nature and womanhood, recalling the quiet intensity and sculptural lyricism of Edward Weston.
Garduño's work can be found in the permanent collections of the MoMA, New York; the National Gallery, Washington, DC; and the Art Institute of Chicago, among others.
Questions about this piece? Contact us, call +1.416.704.1720, or visit our Toronto Gallery.
"Vestido Eterno (Eternal Dress), Mexico"
1999
Gelatin Silver Print
Signed on verso
20"H 16"W (sheet)
24.75"H 20.75"W (framed)
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Flor Garduño's (b. 1957) black-and-white photographs articulate a sustained dialogue between humanity and nature, tradition and time.
Garduño studied visual arts at the Old San Carlos Academy (UNAM), where the surrealist pedagogy of Hungarian photographer Kati Horna proved a formative influence on her aesthetic development. In 1979 she left formal study to serve as darkroom assistant to Mexican photographer Manuel Álvarez Bravo. During this time, Garduño dedicated herself to personal photographic work while mastering palladium, platinum, and gelatin silver printing.
Deeply conscious of her cultural heritage, Garduño’s oeuvre pays homage to the peoples and landscapes of the Americas, with particular attention to communities and mythologies existing at the margins of Western modernity. Throughout the 1980s and 1990s she would produce bodies of work that intertwine portraiture, indigenous presence, ritual, and elemental nature.
Since the early 2000s, her practice has taken on a more formalist clarity, focusing on still lifes, landscapes, and female nudes. "Vestido Eterno" is exemplary this era. Rendered with a pictorial softness and compositional restraint, the work suggests a realm of tranquillity and timelessness. Garduño offers a symbiotic moment between the beauty of nature and womanhood, recalling the quiet intensity and sculptural lyricism of Edward Weston.
Garduño's work can be found in the permanent collections of the MoMA, New York; the National Gallery, Washington, DC; and the Art Institute of Chicago, among others.
Questions about this piece? Contact us, call +1.416.704.1720, or visit our Toronto Gallery.
"Vestido Eterno (Eternal Dress), Mexico"
1999
Gelatin Silver Print
Signed on verso
20"H 16"W (sheet)
24.75"H 20.75"W (framed)
