MUJER EVOCACIÓN POÉTICA

Artist Fernanda Deschamps and her thoughts around her creative process

For centuries, the woman has been the main topic in art, the inspiration of men in a history written and filtered by men. Fernanda Deschamps’ watercolor series joins the trend of groundbreaking female artists who are leaving their mark. 

Jean-Auguste Dominique Ingres said that Calmness is the main beauty of the body. In this sense, Deschamps’ work proposes peace and serenity. Images that portray pieces of women in attitudes and postures captured in visual metaphors saved from oblivion. 

The brushstrokes whisper bareness on an endless paper surface, where an intimate universe is created. A silent white, which comes as a seeming absence and whose identity is not the void, but the possibility of diverse meanings. A luminous emptiness that demands active participation from the spectator to complete with their own imagination the aesthetic experience in the wistful paleness of the base, where colors, gestures, and traces, along with the rhythm in the gaze of both the painter and the spectator, playing a game of balance and complicity. 

Fernanda is a Mexican artist, teacher, and art historian. She presents feminine nudity without a specific context and transforms it into a whole through smooth gradients, which start from transparency and move towards a monochromatic saturation with a monotonous sonority of soft and progressive rhythms. Echoes, visions, and sensations are weaved in a fabric of what is there without words. Heartbeats between lines, in the stage of insight and solitude.

Exploring invisible journeys where the body is the canvass, our temple in the garden of delights. As happens in art, the encounter with ourselves requires technique, motives, memory, and time.

A lesson for those who live in a chaotic world, which breaks into our senses and disturbs them. The simplistic proposal and minimalistic palette of Fernanda Deschamps are strong evidence that you can tell more with less. 

Por Fernanda Deschamps

Fotografía: Pilar Campos

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