My Account My Lightboxes Create Account Submissions Guidelines Help
[ ARTIST ARCHIVE ]
  ARTIST PORTFOLIO  
 
Tatiana Garmendia
updated: 05/08/2011
website: www.tatianagarmendia.com
 
   
 
 
     
 
Artwork Title
art-medium
art-year
dimensions
Click thumbnails for full view:
 
The Last Judgment
Detail of the damned, The Last Judgment
The Last judgment V.5
Th Last Judgment V.2
Last Judgment V.4
Last Judgment, Mourning Embroidery 4
Last Judgment, Mourning Embroidery 3
Last Judgment, Mourning Embroidery 1 & 2
Dust to Dust, grouping
Last Judgment V.6
Last Judgment V.7
Last Judgment V.10
Last Judgment V.11
Last Judgment V.9
Last Judgment V.8
 
Portfolio Keywords:  political, conceptual, figurative, historical, narrative, spiritual, social criticism, craft, gestural, psychological
 
 
The Last Judgment by Tatiana Garmendia
The Last Judgment
Doves Blood Ink, graphite, marker, gesso on Mylar
2010
92" x  88" 
Detail of the damned, The Last Judgment by Tatiana Garmendia
Detail of the damned, The Last Judgment
Doves Blood Ink, graphite, marker, gesso on Mylar
2010
92" x  88" 
The Last judgment V.5 by Tatiana Garmendia
The Last judgment V.5
Sumi Ink on handmade Okawara paper
2010
36" x  72" 
Th Last Judgment V.2 by Tatiana Garmendia
Th Last Judgment V.2
Sumi Ink on Arches watercolor paper
2010
44" x  30" 
Last Judgment V.4 by Tatiana Garmendia
Last Judgment V.4
Marker on Lennox paper
2010
50" x  38" 
Last Judgment, Mourning Embroidery 4 by Tatiana Garmendia
Last Judgment, Mourning Embroidery 4
Hair, crystallized tears on military netting
2011
31 " x  44 " 
Last Judgment, Mourning Embroidery 3 by Tatiana Garmendia
Last Judgment, Mourning Embroidery 3
Hair, crystallized tears on military netting
2011
51" x  40" 
Last Judgment, Mourning Embroidery 1 & 2 by Tatiana Garmendia
Last Judgment, Mourning Embroidery 1 & 2
Hair, crystallized tears on military netting
2010
17" x  14" 
Dust to Dust, grouping by Tatiana Garmendia
Dust to Dust, grouping
Carbon, ash, frankincense & myrrh on paper
2010
Dimensions variable
Last Judgment V.6 by Tatiana Garmendia
Last Judgment V.6
Gold leaf and charcoal on handmade Lokta paper
2011
30" x  19" 
Last Judgment V.7 by Tatiana Garmendia
Last Judgment V.7
Gold leaf and charcoal on handmade Lokta paper
2011
30" x  19" 
Last Judgment V.10 by Tatiana Garmendia
Last Judgment V.10
Burns and watercolor on Kozo Light
2011
25" x  19" 
Last Judgment V.11 by Tatiana Garmendia
Last Judgment V.11
Burns and watercolor on Kozo Natural
2011
25" x  19" 
Last Judgment V.9 by Tatiana Garmendia
Last Judgment V.9
Burns and watercolor on Kozo Light
2011
25" x  19" 
Last Judgment V.8 by Tatiana Garmendia
Last Judgment V.8
Burns and watercolor on Kozo Natural
2011
25" x  19" 

Artist Statement

Drawing is my tool for existential questioning into ideas and values, into history and culture, into how human will and feeling manifest within a narrative arc.  It is how I search for the sociobiological stories embedded in the body’s thrust and gesture. In a sense, my drawings are both conceptual art and expressionist confession. They are characterized by scrupulous effort, continuous study, and exploration of tangents that bring hidden information to light.

 

In The Last Judgment series, I cast veterans from the wars in Iraq and Afghanistan in various roles of savior, martyr, saint, damned, and demon. An intangible element of this piece is the experience of directing seasoned soldiers to assume the postures of human exaltation and despair mapped out by Michelangelo’s masterpiece. The large Judgment closely follows the structure and gestural energy in his original. Instead of clouds, lyrics from various songs connect the groups of figures and function like thought bubbles. “Thought you were going up the field a ways and join all the other living souls but you never came,” laments a marine, flying above the crowds, an American flag unfurling behind him. Below, another replies cynically, “Yes, I’ve seen it before, just little bits of history repeating.”

 

Other versions have followed, each articulating exchanges between figures suggestive of that first expression. Every successive piece calls for me to experiment with different materials as each lends its own traits of clarity or impenetrability to the subject.  The intimacy of hair and tears, the fierce focus of marker contours, the preciousness of gold leaf, or the brutality of burns on handmade paper. A series of stencil pieces use carbon, ash and frankincense, recalling both the English burial rites and street art.

 

Artist Bio / CV

Education:       
MFA, Pratt Institute of Art, Brooklyn, NY,

BFA, Florida International University, Miami, FL 
Solo Shows:
2010    Moses Lake Museum & Art Center, Moses Lake, WA
2009    Monarch Contemporary, Seattle, WA
2007    Olympic College Art Gallery, Bremerton, WA
2005    Alden B. Dow Museum of Science and Art, Midland, MI
2002    Fine Arts Gallery, Seminole College, Sanford, FL

Art Gallery, U. of the South, Sewanee, TN
COCA, Seattle, WA
2001    Contemporary Art Center of Peoria, Peoria, IL
1708 Gallery, Richmond, VA
Atelier 31, Seattle, WA
2000     St. Xavier University Art Gallery, Chicago, IL
Phinney Center for the Arts, Seattle, WA
Group Shows:
2011    EXQUISITE ALLEGORY, Winston Wachter, Seattle, WA 
STATES IN BETWEEN, Arthur M. Berger Art Gallery, Purchase, NY
2008    THE FINE ART OF DRAWING, FSU Museum of Fine Arts, Tallahassee, FL
2007    BODY IMAGE, SAM Art Gallery, Seattle, WA
2007-2004    VISIONARY ANATOMIES, The Art Museum of Western Virginia, Roanoke, VA; Art Museum, Amherst, MA; University Museums, U. of Delaware, Newark, DE; Monmouth Museum, Lincroft, NJ; The Keck Center Gallery, NAS, Washington DC
2005    NEVER DONE: WOMEN’S WORK FROM THE PERMANENT COLLECTION, The El Paso Museum of Art, TX
2000    INK DIFFERENT, Historical Museum, Miami, FL
NATURAL HISTORIES, CSU Gallery, Cleveland, OH 
A MATTER OF SCALE, Agnes Scott College Galleries, Atlanta, GA
Selected Reviews:
Art LTD., Marc-April 2011, “Exquisite Allegory” at Winston Wachter, by Matthew Kangas, Pp. 30-31
Seattle Times, February 3 2011, “Review: In ‘Exquisite Allegory’ at Winston Wachter, every picture tells a story” by Michael Upchurch.
New York Times, April 19, 2005 issue. “What Leonardo Could have Done With a Catscan” by Henry Fountain
Atlanta Journal-Constitution, Friday, November 10, 2000 Issue, “Exploring the Large and Small of Scale”, p. Q8
The Miami Herald, Sept. 19, 1999, "Drawings Shed Odd Light On Phrase 'Body of Work'", p. 11M