(Caracas, Venezuela, 1964)
Magdalena Fernández’s versatility as an artist is a reflection of her path through the fields of physics, mathematics, graphic design, visual and sound arts. Since the 1990s, she began to experiment with participative works that echoed the profound modernist history of Venezuelan art, referring to interventions in public spaces and collective experiences, similar to those configured by artists such as Jesús Rafael Soto.
Afterwards, Fernández has kept in dialogue with her modernist predecessors, establishing formal links in more recent media, both analogue and digital, that materialize abstraction into a historical discourse subject to widening, modifications, and distinct recoveries. An important part of this process of grounding has been to return to abstraction its worldliness, its connection to the natural environment and all those landscapes and soundscapes the experience of which transcends representation or metaphor. For Fernandez, the instability of the abstraction canon finds echoes in the instability of nature: change, movement, fragmentation and transformation. All these elements constitute the starting point to relate art, artist and spectator.
Through video, installations, sculpture, drawing and graphic works, the artist moves the body into structures that tend towards change, promoting the fluidity of something that in principle would appear entirely solid.
She currently lives and works in Caracas, Venezuela.
