"I was born in Ciudad Bolivar, Bolivar State Venezuela on November 8, 1934, the father I am baptized in the Church Peña Santana, studied kindergarten, first and second grade, with teachers and Carmita sisters Margot Hernández Rivas. In a school in the Concordia street of the city. After 3 to 6 grade at Zea. At this level I loved drawing, and chalk carving furniture, figures and visited the lake to search for the Future modeling clay figures without any advice, just my artistic interests.
When in high school at the Institute Dalla Costa, on the street Equality, sent us a paper on the flora and went to seek guidance with Prof. Barcalonga Italian named, who lived on the street Boyacá with Venezuela, this teacher taught me to combine oil and represented a tree with a great Orchid. At that time I was 13 years. Was an exhibition with all the work, there were prizes, but did not believe he had painted the Orchid and I got it.
In 1960 starts the Visual Arts School in Ciudad Bolivar Armando Reveron. There I studied drawing, painting, sculpture, ceramics. I studied 4 years, but we did not graduate because the school closed for lack of funds. By 1961, won first prize in Ceramics Bolivar State, ranked as the best in the field. In 1967 he founded the Cultural house in Ciudad Bolivar. On the initiative of the Master Jesus Soto, who appointed a small group of people to found the house of Culture. Then along with other friends, including Trina Luque, Alfredo Soto, Carlos Zambrano, we joined the movement. In the house of Culture started courses sponsored by the INCIBA puppets and the Universidad de Oriente in 1967. Continue making several exhibitions in cities of the state and at the time I got my own style in sculptural puppets.
Work as an instructor of pottery with the Ministry of Education continuing my professional. Completing my undergraduate studies at the Lycée Adam White Ledesma and graduated from Professor of Art at the University Institute of Teachers Professional Improvement, Caracas. Then I worked in Ciudad Bolivar as a teacher in the areas of drawing and art by 31 years in the ministry of Education. " Then I performance in Ciudad Bolivar
EXHIBITIONS
Individual com ar
College of Physicians, Ciudad Bolivar, Edo. Bolívar. Sculpture. I 1969 or
House of the Journalist in Maturin, Edo. Monagas. (Collage, Sculpture and Puppets) 1969 (2009) Isaura Vicuña
Casa de la Cultura. Ciudad Guayana (Sculpture) 1969
Gallery Nível 17.9. Ciudad Bolivar. (Puppets) 1969
Galeria Ateneo de Caracas. (Puppets) 1969
Gallery Ateneo de Valera. (Puppets) 1970
Loyola College em Puerto Ordaz. Edo. Bolívar. Puppet Festival South East. (Puppets) 1971
Universidad de Oriente Núcleo Nueva Esparta. (Puppets) .197 in Alaric Gallery l Gomez. Ciudad Bolivar. (Puppets) 1972
Gallery of INCIBA: Palace of Industry. Caracas. (Puppets) 1973
Ateneo de Coro, Falcon State. (Puppets) 1974 9)
I Zuliano Institute of Culture. Maracaibo. Edo. Zulia. (Puppets). 1975
Group s
Group exhibition at Art School "Armando Reveron. Ciudad Bolivar, Edo. Bolívar. (Painting, Pottery and Sculpture) 1960-62
First Class Painting Exhibition: "Dr. Luis Caballero Mejías ", organized by the Industrial Technical School "Antonio Diaz." Ciudad Bolivar, through the Department of Culture. (Painting). 1966
Regional art exhibition in homage to The Sixth National Convention of Journalists in the Gallery "Jesus Soto" Muncipal Council. Ciudad Bolivar. (Painting) 1968
Casa de San Isidro, Ciudad Bolivar, on the occasion of celebrating "Afternoon of the nineteenth century." (Painting: Collage) 1969
First Exhibition of Painting State Authority. Ciudad Bolivar. (Painting) 1969
Feria del Orinoco 1971 from 28/08 to 05/09. (Portales Blohm). Ciudad Bolivar. Outdoor Painting Exhibition. 1971
Centro Venezolano Americano. Caracas. (Puppets) 1972
Group exhibition at the Institute of Visual Arts "Armando Reveron. Cd Bolivar, Edo. Bolívar. (Sculpture) 2002
Group exhibition at the Institute of Visual Arts "Armando Reveron. Cd Bolivar, Edo. Bolívar. (Sculpture) 2003
Group exhibition at the Institute of Visual Arts "Armando Reveron. Cd Bolivar, Edo. Bolívar. (Sculpture) 2003
Mega II exhibition at the Museum "Jacobo Borges in Caracas in honor of Jesús Soto. (Sculpture) 2005
Collective exhibition "Meeting Old Jail Building in Ciudad Bolivar. Edo. Under the Bolívar day of the artist. (Sculpture) 2005
Major Exhibition of Arts and Letters 2005. Chapter visual arts. Jesús Soto Museum, Multiple Room, Ciudad Bolivar, Edo. Bolivar (Sculpture) 2005
Expressions of Angostura. " Shows Ministry of Culture collective Bolivar State, in Hall "B" Center for the Arts, as part of the day the artist. Ciudad Bolivar, State Bolívar.II 2006
Center for the Arts: Exhibition of Arts Major. Ciudad Bolivar. (Sculpture) 2007
National Art Gallery New York: The Third Edition, Certamen Mayor of Arts and Letters, Chapter Visual Arts Select State Authority from 7 to 18/12/2007. (Sculpture) 2008
Group Exhibition at the Arts Centre as part of the celebration of Women's Day "ART AND WOMEN." Ciudad Bolivar, Edo. Bolívar. (Sculpture) 2008
Collective exhibition in the day under the artist. "Creators." Center for the Arts. City Bolívar.2008
In the Texas House, the Arts Workshop Exhibition Plastic "Arsenio Pasarinni" Bolívar.2009 City
Red Art Foundation. Exhibition "Symbolism and Reality" Ciudad Bolivar 2010
Universidad de Oriente. Core Bolivar.2010
Vicuña Isaura puppet seen in the prolongation of Sculpture. " Damazo Ogaz.
"The Puppet through its its long history has been discussed in two forms of expression, the ironic and the simple and grotesque absurdity. The puppet is thus a younger brother of the comedies of Aristophanes and a brother, a sibling of the popular comedy. The fables that has been covered has allowed them to survive and operate in a very alien world to which it gave birth yesterday .. mates have died, but managed to overcome the crisis. As anyone heard of new work their idea, transformed. Therein lies the secret of his immortality.
Vicuña Ysaura puppet seen in the prolongation of the sculpture, sculpture and understood as such has arrived to give a new interpretation to some of the exhibits, however, the portrait of rural and urban type she does not are dropped except in satire of some stereotyped characters, ie, next to the puppet tradition bequeathed to us. But there is also something that departs from the established model theater "punch" on the poliechinela, puppet theater you English, and it is this passion for their land, their place and tradition (and representation work) is what makes them different characters the usual and allows us to understand this new transformation.
Isaura puppets do not need, therefore, a small theater or a literary work to make life special. It is enough himself and as a human synthesis of what the author intended to express. When the witch and black cat, for example, those who take life in their hands, witness the magical world we inherit, but even they, characters from the popular imagination, we deliver devoid of Proverbs contrasts isolated from their context and operating in a synthesis that may already be history. All these figures have been carefully embodied lack the stage for his adventures, but instead have strengthened their "personalities" and are endowed with a kind of summary that acts in themselves. They are sculptures that move in another language.
This has been possible thanks to the Ysaura ability to give life to all types of materials. Initially studied painting at the School of Art Ciudad Bolivar, then sculpture and subsequently undertook a relentless pursuit and unpredictable to bring an adequate means of expression. All this with a great limitation of resources, however, this could be fatal for many, is what has allowed a great honesty in their work and search. Others, with characters in the fashion of the moment, has followed a manner that is already own, which he consents to shape a series of sensations, and ironic or dramatic, and another set of ideas that the material itself will suggests. Considering how difficult it is to be performed inside the country, it is fair to assume that the researcher always Isaura spirit of Vicuña be exemplary and encouraging to one. Not only is it admirable for what it does now, but all the way she has been open for a future. "(1970) Damaso Ogaz
Ysaura gestures
"In a city where it is very unfriendly was the Sir Walter Raleigh, whose inhabitants still retain moderately for obvious reasons, since these times, a certain resignation to the pirates (not the classics, by the way), I had the amazing encounter with jean Arthur Rimbaud, and unknown to reactualized Marquez de Sade and Central Blaise adventure, the Homer of the Trans-Siberian _ and had to Dos Passos, "the man who has lived the dreams of Rimbaud and Baudelaire and the Odyssey written sleepers. But this aging `Pandora offered other surprises me (away from the negatives that would add many) and were the gestures of Isaura. These small gestures and almost impossible to speak louder than one of drama's creator and take n county. In the old library of Ciudad Bolivar devoted myself to recover a lost book series, representatives undoubtedly a time when the book was a sense in that city. (The older ones remember those days with nostalgia). But a book is easy to recover and not so that group is revealed by finding a solution, you expect and you've never met a real local stimulus. I mean Isaura Vicuña, Jose Magallanes, Trina Luque Miguel Silva, Victor Jimenez, Trino Pulido, Maria Crespo, Isabel Urbano, Beltran Vallejos this is almost impossible in our country, and me I can only name them. They work and are likely to continue working quietly with the abject poverty of material and information. It is a heroic situations I've ever met and makes me think of a gummed paper whose two ends are glued against our will. A fact that always happens.
Among those citizens who now are only concerned with the increases of the Orinoco river (the subject is treated with a wealth of details in everyday conversations), which reminds one of those ghost towns of Arizona, working Isaura Vicuña its dramatic character. The rooms are a rich field for exploration. The works are continuing and are stacked on the floor, on furniture or beds. A hopeless overcrowding, however Live the life that has become persistent and chronic anxiety getting. This disorder has been imprinted on the faces for her modeling, and ceasing to be an intangible factor to become an intense emotional expression. I remember the first impression I had upon seeing the tragic series of gestures, almost grimaces of fear or anxiety and relive the same embarrassment that I write about it now. Is that the dryness and the sincerity with which Isaura explains his vision of the world who live and lack, moreover, of these ingredients in the so-called art that one usually seen in galleries, art makes her seem like too naked, too close to its truth. Archibald MacLeish stated, "Our inability to fill the world we live" and it is possible that this same failure has brought forth a series of false conflicts, which naively grant category of truth. For this reason, perhaps the search for Isaura, seem too human, where the anxiety is just anxiety and not a game wrong, moderator "aesthetic" to the problems of man. In the work of Isaura are witnessing, then, the drama to dry and may be out of date, as the drama of man has become "Out of date" for the supporters of the more "new schemes."
Isaura The materials used are also simple, consisting of paper and glue, and time is responsible for giving the necessary patina. The same elemental material, at a time when the industry with all its technological collaboration with the artist, make even more difference, perhaps deepens the provincial distance, but can not withstand the interest of his work. In contrast, achieves its goal of immediate communication, and their faces, which have not yet established their control mechanism "aesthetic" surprised by its immediacy and one feels in a much stronger and more overwhelming than any other form of expression. Isaura modeling nothing more than faces, but the faces vary in their actions and are of a certain melancholy to cry expression, gesture end of the drama. There seems no respite in the search for Isaura, in its approach to the emotional extreme, and perhaps for that very reason often disconcerting, to break through the viewer.
At home not only is it disturbing world, but also the consideration that constitutes the world of his four daughters and their visual expressions. I will not speak of "children's painting" to refer to Eurydice (it has only 6 years) or Tibaire (9 years) and the two remaining girls and are a little older than those above (I've unfortunately forgotten their names), and who paint for years and have achieved amazing technical mastery to his youth. As little paint occasionally, which is common in children, but daily and with a seriousness that the false bankruptcy schemes of understanding the world of the child. They, like their mother, have overcome the conventional wisdom and seek to capture a language whose resources are not foreign. They are also part of contemporary art movement, even performing in a provincial city that only gets excited about the rise of the Orinoco River. "(1968) Damaso Ogaz, article" The gestures of Isaura "Image magazine N º 35, p. 22 Instituto Nacional de Bellas Artes. INCIBA
Venezuela
