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Marianela de la Hoz (June 14, 1956) is a Mexican painter. She has lived in San Diego, California for six years now where she continues to work. Her artwork follows the tendencies of the aesthetic trend called Hemofiction in which blood, consciousness, irony, time and space are its structural axes. In this trend the dominant instincts of the characters are revealed, producing an encounter with the own individual's identity, moving towards the unique being's interior. ==Painting style== Her work is nourished by literary arguments, not to produce illustrative texts, but as the source from where the internal problems of the human being emerge. It is in literature where she finds those extremely unusual visual codes that allow me to depict that human side that we persist in hiding, the "unpleasant" face of real life, stories drawn from the immediate familiar surroundings, where vicious or pervert characteristics, seemingly unnoticed but present, take relevance to induce shocks in the spectator who is looking at prodigious portraits of what we all really are. Inside this pictorial-literary world, precise limits don’t exist, its contents unleash my imagination giving as a result an inexhaustible source of images, she deals with the material and immaterial, the ordinary and extraordinary. She think about the knowledge we have of ourselves, the way we live, love and dream, she talks about love, death, hopes, the present and the past and above all the visual iconography that she works with is that of the terrible, the amoral, resulting in realistic characters with magical details, zoomorphism, disproportions and exaggerations that talk openly about themselves, without guilt, myths or common places. In expressing those problems of mankind she look for reactions, she digs the feelings, hopes, anxieties, secrets, she draws them out and investigate in order to recover that childish fantasy for the adult, who also has the urge for magic, she needs to depict "stories" that will satisfy these perverse tendencies through fantasy and she finds specific models to express them as the children's imagination would. She uses black humor and sarcasm, to express violence, destruction and sadism, through fantasy. That is why she calls it "White Violence", namely small formats in which she portrays characters whose hair is properly combed, with perfect teeth and, only when necessary, a tiny blood drop; acting an extreme situation. The contents of her work arise from reality; facing the troubled times we are living, because she finds avoiding these subjects to be decadent. Many artists try not to upset the spectator, flattering him and preventing him from searching the depth of the human visual circle in which we can find a cathartic experience, they lead people to become pleasure, fashion or prestige followers and not in someone that tries to confront his experiences with "that" what the artist has placed in front of him. Her artwork's purpose is to provoke the spectator as a total being, not pure sensibility, nor pure reasoning. The paintings are to be seen at a close distance because of their size and detailed brushstrokes, in order to follow gestures, surroundings and the delicate precise strokes; but above all, to trap the spectator as in a spider web. The texts become another element in the whole composition reminding us of ancient manuscripts, with allusions or cryptic messages towards the images. Every depicted element is related, possesses its own life, even the inert ones. To summarize, she could describe her artwork as reality portraits converted in fantastic theatrical scenes, set of mirrors in which she looks at herself and you look at yourself, perhaps by finding some relationship with grandmother and mother; an intimate and terrifying nearness. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Marianela de la Hoz」の詳細全文を読む スポンサード リンク
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