THINGS TO KNOW ABOUT ME
The process that underpins my work is that of drawing and the construction and reconstruction of objects.
I generate a series of narratives, taking as my starting point the stories and personal experiences through which I explore the world around me. Driven by an inclination towards and concern about understanding my body in light of the intimate and the feminine, I begin with a series of preliminary investigations, in which I make great leaps, building and rebuilding objects, which eventually dissolve.
I consistently referred and still today address my body as site from which all of experiences originate, and by approaching it. I build different life systems functioning as referents to the feminine world. In earlier projects I also spoke of the physical body as a container but also as fragmented surface dislocated into electronic circuits and presented in objects which became the indicator of the presence.
In 2016, I was part of a group of selected artists which participated in a workshop titled “La Naturaleza del Cuerpo”. This experience lead to me to introduce the body as an entity connecting the two-dimensional work with the viewer. To understand my own physicality within a complex repetition of gestures to create large scale drawings, allowed me simultaneously to access a particular and personal experience with time and its unique relationship with the action of drawing.
“Infinito” (2018), the largest project within my practice, is the result of three intense years of research where repetition and movement are used to elaborate an intricate visual/graphic vocabulary. Due to the scale of the work, the accumulation of gestures, becomes either a landscape or an augmented view of a micro-organism surrounded by empty space or white areas, that metaphorically speaking, allow the viewer to travel between two related worlds: Topography and biology.
WEB DESIGN /
La mujer tortuga
Sketches "La mujer tortuga"
From the bonefire
This is temporal
The process of Infinite
”Infinite” Pinta MIami
Process, De la serie”bandadas”, Wisirare
Of the series ”Music score"
Sujetoalobjeto - 2014
A women’s handbag and its contents become prosthesis, as another organ of her body: Subject and object as a whole unit.
”Setting the handbags on the shelf and revealing its contents, makes the proprietors experience an exercise of introspection; an auto-examination. The unconscious veil covers hidden aspects of themselves, which had not been revealed before.”
Machines - 2013
Machines was based on a process where I was capturing fractions of my body into different electronic devices and then relocating them into other areas of my body, generating gestures, creating discomfort for the observer.
Demographic explotion - 2012
The Over Population¨ sculptures in fiberglass, depart from the human body, as organic forms. First the sculptures were photographed and later worked digitally to simulate a microscopic result. The sculptures as images represent the microscopic results found in a Petri dish, were the bacteria multiplies and divides continually.
Subjeto - 2008/2012
The Subjeto Design Lab created functional objects in limited series, where the main idea was to invite the user to interact and co–create with the object.
Music Score - 2003
Is an artistic book edited by Taller Arte Dos Gráfico, where I recount my pregnancy with my daughter Antonia. Interactively I reveal the invasion and transformation of what feels foreign in my body, an abnormality, perverse thoughts and dreams, and how this vital process is the beginning of life. Across this experience I am inviting woman to share this life and death without fear.
Of the series ”Music score" - 2000
After the birth of my daughter Antonia, I started working on ensembles and collages , where my objective was to reveal this new, powerful presence in my life by using timeless images making visible this new found presence.
Mutant Woman - 1998
Series of paintings where the woman is defined as an object. Woman as an object is a constant theme in my work. I depart from images that show intimate parts of a women, that are then divided into a collage. Later the images are painted which result in the images disappearing, becoming organic shapes.
Mujeres en movimento - Objetos para una ceremonia - Mujer abierta - 36 Salón Nacional de artistas
This work embodies the “Painting as an Object”, women-object. ” Objects for a Ceremony” is a turntable with knives and blinking lights which becomes a circus spectacle. The women-object is seen as a game where it’s turned, moved, discovered and used. Finally it becomes a destructive game that presents a woman as an object, but presented with humor.
Process, De la serie”bandadas”, Wisirare
The Museum of Latin American Art (MOLAA) is organizing an exhibition entitled Graphic America, curated by the MOLAA Education Curator, Gabriela Martínez, with Rogelio Gutiérrez, Associate Professor of Art at the Arizona State University. The exhibition will be inaugurated on Saturday, March 2, 2019 and will close on September 1, 2019. Gráfica América explores the legacy of printmaking and graphic arts in the Americas, with a focus on print shops focused on the artist where fine art prints, reproductions, posters and publications are produced. Several interactive activities, demonstrations and public programs are being organized in support of the exhibition. As part of Graphic America, curators invite thirty artists to participate in an exchange of impressions that reflects the direction of contemporary printed works by Latin American artists from throughout the United States, Latin America and Spain. Each artist will receive a complete folder of impressions produced for the exchange.
Mixed Technique, Digital, Lithography, Screen Print, Embossing, Taller Arte Dos Gráfico, Bogotá, Colombia
”Infinite” Pinta MIami
The related group boasts an extensive art collection, consisting mostly of international contemporary art. It is in constant flux as works are continuously being acquired as well as placed in Related proyects throughout the United States and Latin America. Artworks in the collection range in scale from drawings, videos, paintings and sculptures to site-specific installations and commissions as well as large-scale public art.
In addition to the curated selection of art within each of its projects, The Related Groups art strategy extends far beyond the buildings walls.By supporting cultural organizations such as Pérez Art Museum Miami (PAMM), The National Young Arts Foundation and Fountainhead Residency in Miami as well as programs such as Artists x Artists in Madrid and Havana and Flora ars + natura in Bogotá, Related affirms its commitment to enchacing the cultura development of Miami and many other cities in Latin America.
Related is proud to present two recent acquisitions at Pinta Miami: an installation by Ana Maria Devis (Colombia) and paintings by David Beltrán (Cuba)
Infinite - 2018
This project departed from research on the braided hairstyles of the afro-descendant culture in Palenque, Bolívar. In its origins, many of these hairstyles were designed as escape maps; like a non-verbal language that transcribed specific topographic spots, revealing in code the escape routes during slavery. The braided hairstyle, considered as a resistance instrument, understood as a complex system, containing the cyphered knowledge of a particular culture, drove me to think about identity and its manifestations. In this way, a study about fingerprints, with their singularities and characteristics, was started at the same time. This repertoire of digital forms allowed me to delve into the meaning of the braided hairstyles and its relation to territory.
By investigating the characteristic points of the fingerprint, I found names and shapes that refer to topography as well: island, fork, junction, detour, etc. Similarly, when observing the hairstyles from above, I found a formal and direct association between them and the imprint of fingerprints.
In this process, I started an exercise in translation, by drawing each of the fingerprint’s characteristic marks, combining it with elements particular of the landscape, nature, and hairstyles,-such as seeds and vegetable species- later transforming each of these drawings into a stamp.
Starting with the imprint produced by a bas-relief of the fingerprint, I decided to work with the linocut technique. Taking advantage of the plasticity of the stamps, I modified the original matrices using some of their parts. I insisted on the gestures, the actions, the repetitions, and the overlapping, since my main tools are drawing and my own body. For two years I moved from one sheet to another building a territory, drawing with the stamps and blurring the sign through its fragmentation, thus evidencing the temporary process of its making, showing a memory of what is left in the mind. As well as my fragmentary gesture, the ink also blurs this large format piece, as it fades with time.
Infinito became a work of art where the significance of an investigation is enlarged, reproducing with the stamps a fiction that extends the representation of the landscape and merges different perspectives. The work is the result of an action, an intimate and emotional trip through a map of a non-place; it’s the search for freedom in imagination. The size of this linocut print allows people to submerge in a personal topography to find their own, simultaneously reconfiguring a narrative that tries to leave linear time to settle in infinity.
Body and imprint - José Roca
In La mujer tortuga (The Turtle Woman, 2016), Ana María Devis used the inner surface of turtle shells for her drawings. It was a drawing without a preconceived image, which occupied the available surface until it bled onto the paper around it. This work had a public aspect in its execution: the drawings were made inside a vitrine -as part of FLORA’s Gabinete (Cabinet) program- conceived as a long-duration action twice a week. The space was extremely cramped so she had to devise a sliding table that would fit into the narrow space yet allow the drawing to occupy as large a surface as possible. Despite being visible from the street, separated from passersby only by a glass pane, the mirror effect inside the vitrine isolated her from what happened outside, providing an intimate space for developing her work. This resulted in extreme concentration and self-absorption as if induced by the repetition of a mantra. With her body confined in a narrow enclosure -like a turtle- Devis produced the series of drawings without a preestablished pattern of recognizable image; each one was patiently rendered from the accumulation of small markings. These essentially abstract works evoke nonetheless multiple images: microorganisms, geographies as seen from above, urban topographies, electronic circuits or organic tissues from a microscope are some that come to mind. READ MORE
Fotografías: Lisa Palomino
The process of Infinite - 2016/'18
This project started with an investigation into the braided hairstyles of the Afrodescendant Palenque culture. Originally, many of these hairstyles were designed as escape maps and used as a non-verbal language to show escape routes during the time of slavery by transcribing specific topographic sites. Taking this as a starting point I built an inventory of braids, numerous of which had names that referred to territory. Due to the hairstyles being the origin and the enablers of free communities, I began to reflect upon the origin of my own identity in contemporary culture and as thus I arrived at the fingerprint as the specific symbol of each human being. When observing the aforementioned hairstyles from above, I identified direct and formal associations with the imprint of the fingerprint. This discovery led me to research the characteristic points of the fingerprint and I arrived at similarities with names and forms that also referred to territory: island, bifurcation, crossing, junction, deviation, and so on. I then I drew each of these characteristic points, making a specific translation and retaining elements of the landscape, nature and the hairstyle; each of these drawings was eventually made into a stamp. The work focused on the linocut in recognition of the fact that I was working with the impression left by a fingerprint, which is also represented in a low relief. I modified the initial matrices of each code to use fragments of them, therefore taking advantage of their plasticity. I also insisted on the importance of the gesture because my predominant tools are drawing and my body. The product of this work, the execution of which lasted two years, blurs the codes that I created to show through the fragment the temporal process that constitutes its elaboration, and so manifesting a recollection of that which remains of the memory. Like my fragmentary gesture, the ink also blurs this large-format piece as it fades with time.
Infinite is a work in which the meanings of an investigation are extended, reproducing with the stamps of fingerprints a fiction that extends the representation of the landscape and fuses varying perspectives. The work is the result of an action, an intimate and emotional journey of a map without a place; it is a search for freedom in the imaginary. The scale of the linocut allows for complete immersion in a personal topography in order to find oneself, simultaneously reconfiguring a narrative that tries to leave behind linear time to establish itself in the infinite.
This is temporal - 2017
FLORA ars + natura is a space for contemporary art in Bogotá, Colombia, with an emphasis on the relationship between art and nature. It focuses on commissions and residences, on the dissemination of the results of these programs, and on education. FLORA is a non-profit, open and inclusive foundation that establishes links between artists and local, national and international communities through intense expository and pedagogical activity.
From February to December 2017, this group of 23 artists of different nationalities formed part of Escuela FLORA, a long-term residential program accompanied by an artistic training program based on studio practice, dialogue, and direct feedback regarding the artistic process, while investing strongly in interculturality with the aim of transcending hegemonic thinking.
Each artist develops their practice in the studio, attends a program of independent studies focused on investigating methodologies of creation and research in contemporary art, and receives feedback on their process by prominent artists, curators, theorists, historians and researchers of national and international standing.
The public placement of processes (PPP) of the work of the resident artists is carried out via Open Studios, through which the public has the opportunity to access and familiarize itself with processes and projects. For this particular exhibition we have collaborated with La Casita, which offered us its exhibition space to present some of the projects carried out by the artists during their residency.
This exhibition presents works that respond to the research and production processes of each of the residents. In the absence of a common theme, the exhibition is constituted as a laboratory to which each artist brings a proposal, thus generating dialogues and links among the pieces through their juxtaposition in space, as well as connecting ideas and processes, and in some cases evidencing the personal experiences formed during a 10-month residence in which a series of conversations that have been formed in a common space and woven among peers.
Adriana María Pineda
Curator in residence Beca Scarpetta
From the bonfire - 2016
"The group exhibition “From the bonfire" reflects on the beyond and the connotations implied by an apparently pagan spirituality, outside the limits of evil. As thus, we present projects based on intimate and personal rituals, such as that of Ana María Devis, who delivers herself in a mystical and contemplative manner to the pictorial activity of intervening in a turtleshell". MARIA WILLS, curator.
Installation result from the contact with tortoise shells, Galápagas, as commonly called in the zone of the Colombian Orinoquía. These turtle shells were found dead and managed properly with the environmental entity of Yopal-Casanare "Corporinoquia", through visits and photographic records that gave account of the responsible extraction and respect with the environment.
La mujer tortuga - 2016
La mujer tortuga consists of a series of actions in FLORA ars+natura where I enter into a cabinet (a vitrine) to draw for three hours a day, twice a week, for two months. Each action allows me to establish a close relationship with the viewer and creates a link that would otherwise be nonexistent. I draw the turtles using a magnifying glass because it is the tool that has allowed me to both approach them and go into great detail. I have found positions in my body that I did not know existed in order to adapt to their forms, I have shared their slowness, the passing of time and patience. I now see the load of these animals as journeys throughout the topography of Colombia, from the gaze and body of the turtle, but also from my own gaze and my own body.
Fotografías: Lisa Palomino
Sketches "La mujer tortuga" - 2015/2016
After 3 years of being involved in the management of an environmental entity and the extraction of turtles that were found dead in the Colombian Orinoquía region, I appropriated their shells, into which I made a number of cuts to reveal the interior, the vault, the house.
As an initial idea, I asked 70 women by mail that if they were a Mujer Tortuga what would they carry on their backs and from their answers, I built a new object, which I then drew by means of many hours of observation.
The self-referentiality of these objects within the shell of the turtles, began to fade (transforming) in an intuitive way, until it disappeared completely and a new organism began to emerge.
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´95 - ´97
Visual artist, Ana María Devis graduated from the University of Los Andes in Bogotá in 1992. She studied gravure and four-color separation at the Camnitzer Studio in Lucca (Italy-1990). From 1999 to 2002 she lived in Sao Paulo, Brazil, where she took courses in scenography held at the University of Sao Paulo, and later worked in the studio of J. C. Serroni, running productions of Bizet's opera Carmen by Carla Camurat and Hamilton Vaz Pereira, and Raindrop by Chico Buarque and Paulo Pontes.
In her work, Devis has tried to establish points of contact with the intimate side of the feminine body via painting, installation, photography, video and drawing. This subject matter is present in one of her earlier exhibitions titled “Sujetoalobjeto”, where intimacy is revealed through objects, normally enclosed inside handbags. Displaying these contents showed a clear exercise of evidencing complex systems of life and how subtle structures eventually reveal a previous unknown identity.
In 2015, Devis was part of the workshop “La Naturaleza del Cuerpo” directed by Maria Jose Arjona, and was later a guest performer for the project “Avistamiento” exhibited at “Flora ars + natura” that same year. Since then Devis practice, has explored the body as connecting entity between the two dimensional work and the viewer.
During the last three years, the artist traveled to the eastern plains of Colombia and the encounter with numerous turtle’s shells, that later were shipped to Bogota, transformed her studio into an archaeological laboratory. Using the inner surface of the turtle shells for drawing and expanding the lines into the paper supporting the shell, “La mujer tortuga” which is the title of the work emerging from this research, dealt with the importance of drawing as a vehicle to create a relationship with the outside (the viewer) and simultaneously generate new organisms. These drawings were created inside a vitrine at Flora ars natura as part of the “Gabinete” program (2016) and were later exhibited at “El Instituto de Visión” (Bogota-Colombia).
From an artist in residency program at Flora , Devis produced a long durational-drawing installation which encompassed an inventory of visual codes used by an African culture called “Palenque" located in the Caribbean side of Colombia. This Afro-Colombian community designed unique patterns and embedded them in their hairstyles to create escape maps. The meticulous observation of these hairstyles allowed Devis to understand the similarity with typological patterns of fingerprints and combine both instances of her research to generate a hybrid glossary. The entire process lead to a series of graphic translations which involved the artist’s body as a tool to create a drawing resulting from movement and repetition.
Eduardo Serrano Rueda /
"Una vagina convertida en ojo que se abre y se cierra o en una boca parlante, no puede menos que producirnos sorpresa, intriga e inclusive temor, todo matizado por un sutil pero penetrante sentido del humor."
Patricia Andrea Higuera Diaz / Agenda cultural/ Universidad Jorge Tadeo Lozano
"Habla como pinta: con metáforas. Se mueve como pinta: con armonía. Pero lo más importante es que vive como pinta."
Laura Purdy / Los Angeles - USA. Video-Artista
“Es una pieza de arte valioso, porque busca claramente el extranjero. De lo artificial que es la escencia de la naturaleza: el principio de la vida. Pero estamos pensando en animales y no podemos celebrar simplemente lo desconocido. ¿Tenemos que explorar al extranjero, el inmigrante y preguntar quiénes son? ¿ De dónde vienen? y porqué han elegido permanecer aquí. Este libro es un testamento a esa dualidad que nos disturba: esa antigua pelea entre el espíritu y la carne para determinar los derechos territoriales en la creación. Y pronto nacerá otro.”
“El sueño de la razón produce dibujos” / El Espectador
“Durante el embarazo comenzó a ver de otra manera su funcionamiento orgánico y ahí sintió que tenía que inventar otra historia”.
Augusto Ardila Plata /
“ Se trata de una obra con un contenido de implicaciones psicológicas: al mismo tiempo que pretende ser una especie de exorcismo íntimo, conlleva una acusación a nuestro tiempo fascinado con un juego destructivo que quiere hacer de la mujer un objeto”.
SPECIAL COURSES AND SCHOLARSHIPS:
2016 - 2017
Residence scholarship, Escuela FLORA ars+natura
Rhode Island school of desing, U. S. A
Methods and alternative materials in art
The Museum School of Arts
Boston, Massachussets, U. S. A
Photogravure and separation of four colors
ANA MARÍA DEVIS OCAMPO
September 6 of 1968. Ibagué, Colombia
1987 – 1992
Bachelor in Fine Arts
Universidad de los Andes
Certification, Set Design, J. C. Serroni
Sao Paulo, Brazil
Certification, Set Design, University of Sao Paulo, Cyro del Nero
Sao Paulo, Brazil
November 21, 2015
“The Nature of the Body”
Directed by Maria José Arjona, FLORA ars+natura
September 24, 25, 26 and 27 of 2014
NC, Lab, Laboratory of Creative Thought
COLLECTIVE EXHIBITIONS AND DISTINCTIONS: