AMERICANS: CURRENT IMAGINARIES
Curated by Dr. Milagros Bello*
At the European Cultural Center/Palazzo Bembo
In the context of the 59 th Venice Biennale

The exhibition proposes a creative visual topography of artists of the Americas, shaping out expanded visions of the USA, the Central America, and the South America regions. With distinctive spirits and different points of departure, the group exposes diverse imaginaries of 21sth America. Each artist’s expression exposes a work of a particular content that emerges from a personal mythology as well as from a cultural territory. Art represents a complex visual tissue that summons inner and outer global and local dimensions of the artist. Whether figurative or abstract, art forms a magic outcome of visual accounts of the artist’s experience of crystalizing society.
This group grounds on diversity and gathers around the complexities of America. Beatriz Sanchez (Venezuela), Carola Orieta-Sperman (Argentina/USA), Clark Medley (USA), Diana Ocampo (Colombia), Eliana Barbosa (Brazil/USA), Grehyni Narvaez (Venezuela/USA), Karina Matheus (Venezuela/UK), Lorien Suarez-Kanerva (USA), Matt Jacobs (USA), Meg Cogburn (USA), Mercedes Inaudi (Venezuela/USA), Ricardo Carbonell (Venezuela), Robert Brandwayn (Colombia), and Sergio Cesario (Brazil/USA).

Beatriz Sánchez Flowers and Crystals (2020)
Beatriz Sánchez Flowers and Crystals (2020)
20x20x3 inches 50¾x50¾x7¾ cm
Mixed media (objects and paper collage) on PVC
Beatriz Sánchez Fluttering Butterflies (2020)
Beatriz Sánchez Fluttering Butterflies (2020)
20x20x3 inches 50¾x50¾x7¾ cm
Mixed media (objects and paper collage) on PVC


Beatriz Sanchez (Venezuela) presents profuse compounds of objects and mixed media collages of high tenure. The artist exposes personal mythologies and recollections of life experiences in a complex chain of articulated signifiers from domesticity to womanhood, from nature to culture, into life soul-searching.

Eliana Barbosa Indian boy (2019)
Eliana Barbosa Indian Boy (2019)
12x12x1 inches 30½x30½x2½ cm
Photography on acrylic
Eliana Barbosa Lady from the past (2021)
Eliana Barbosa Lady From The Past (2021)
12x12x1 inches 30½x30½x2½ cm
Photography on acrylic
Eliana Barbosa Death and life (2019)
Eliana Barbosa Death And Life (2019)
12x12x1 inches 30½x30½x2½ cm
Photography on acrylic

Eliana Barbosa (Brazil/USA) exposes critical de-figured and ghostly characters as a crystallization of the collapsing outgoing of the pandemic. The image is produced in a reconstructed process, combining outlines of ephemeral silhouettes painterly dropped over a surface of a large can and then photographed before the image dissolves onto the white paint. The photographic digital capture becomes the final work of this transposed hybrid method of creation.

Ricardo Carbonell Untitled I (2021)
Ricardo Carbonell Untitled I (2021)
12x24x1½ inches 30½x61x3¾ cm
Collage on canvas
Ricardo Carbonell Untitled II (2021)
Ricardo Carbonell Untitled II (2021)
12x24x1½ inches 30½x61x3¾ cm
Collage on canvas
Ricardo Carbonell Untitled III (2021)
Ricardo Carbonell Untitled III (2021)
12x24x1½ inches 30½x61x3¾ cm
Collage on canvas

Ricardo Carbonell (Venezuela) assembles rhythmic tensions and dynamic collisions in a pure minimal approach to non-objective art evoking imaginary trials and trajectories, mastering an abstract collage technique through cut-outs of electric tapes strips ordered in mathematical sequences and geometrical shapes over a canvas.

Diana Ocampo Y tú aparecerás en otra estrella (2020)
Diana Ocampo Y Tú Aparecerás En Otra Estrella (2020)
12x24x1½ inches (diptych) 30½x61x3¾ cm
Mixed media
Diana Ocampo Y tú aparecerás en otra estrella (2020)
Diana Ocampo Y Tú Aparecerás En Otra Estrella (2020)

Diana Ocampo (Colombia) recalls personal narratives and autobiographical and displays photo- collaged childhood photos, and painterly erasures over minimal white backgrounds, fading out and recovering memories of her lost father in fragmented scenes. The artist, with a twist of introspection, sets up the human sense of eternal ties.

Sergio Cesario Precious (2022)
Sergio Cesario Precious (2022)
36x36x1 inches 91x91x2½ cm
Photography mounted under acrylic / plexiglass Ed 1 of 5

Sergio Cesario (Brazil/USA) proposes a digitally post-produced photographic image re-purposing his creative imaginary. The original photograph is de-composed to a fictional plane of multiple hints and traces. Diluted multicolor, serpentine lines, space dissolutions in vibrational matrixes transpose reality into invisible pictorial realms of hidden introspections.

Meg Cogburn Black horse (2020)
Meg Cogburn Black Horse (2020)
30x48x1½ inches 76x123x3¾ cm
Acrylic on canvas

Meg Cogburn (USA) visually interprets biblical figures in cryptic messages as hopeful visions of regeneration and spiritual enlightenment for humanity. Figurative characters of dream-like imagery ooze in the pictorial scene, assuming transformative roles. In Horses of the Apocalypse’s Famine, the horse rider is portrayed as a stone-like personage, and his horse is rigidly crashing on the ground, but they are blissfully surrounded by buoyant green growth and upbeat symbols of renaissance in the alpha and omega emblems.

Matt Jacobs Hallucination (2021)
Matt Jacobs Hallucination (2021)
36x24x1 inches 91½x61x2½ cm
Oil on wood
Matt Jacobs Pink Cupcake (2021)
Matt Jacobs Pink Cupcake (2021)
8x10x1 inches 20×25½x2½ cm
Oil on wood
Matt Jacobs Cupcake on a carpet (2021)
Matt Jacobs Cupcake On A Carpet (2021)
8x8x1 inches 20x20x2½ cm
Oil on wood

Matt Jacobs (USA) shows small sumptuous, lush nature paintings, reshaping the concept of the horror vacui of the Baroque period. His works are landscape rhapsodic visions of highly sensual profuse foliage arranged in pastoral settings of abundant greenery with a meaningful figure as a contrasting focal point, such as a seductive and sensual cupcake.

Grehyni Nárvaez White Lips (2018)
Grehyni Nárvaez White Lips (2018)
7¾x15x4 inches 20x38x10 cm
Fiberglass sculpture

Grehyni Narvaez (Venezuela/USA) presents a tridimensional work of strong stanza in allusion to the feminine spirit in our Western culture. The sculpture shows a carnal and tactile representation of a woman’s white lips as a sound signifier for allurement and attraction. The body part in its whiteness allure projects to the viewer a silent eroticism and glamour.

Karina Matheus The skies turned to gold (2022)
Karina Matheus The Skies Turned To Gold (2022) 3
6x36x2 inches 91x91x5 cm
Acrylic / Flashé on canvas

Karina Matheus (Venezuela/USA) proposes abstract colorful brunt and tangential brushstrokes over a canvas as revelations of inner drives and spiritual meditations. It is a nonrepresentational approach that evokes musical tonalities and emotional feels, imaginary sounds, and timbres in different tempos that project as expressive dimensions of the spirit.

Mercedes Inaudi COVID Monalisa (2022)
Mercedes Inaudi COVID Monalisa (2022)
16x16x2 inches 40½x40½x5 cm
Mixed media on wood

Mercedes Inaudi (Venezuela/USA) presents COVID Monalisa, a mixed media collage of intertextual references to the current COVID pandemic. A defiant masked woman with a challenging gaze towards alamity shows in the right while a group of red shapes alludes to the virus on the left. A busy composition with phrases, fonts, and writings, collated, and finished with mixed media, wax, and encaustics reveals the intense related concerns of the artist.

Robert Brandwayn Light Condenser I (2018)
Robert Brandwayn Light Condenser I (2018)
8x8x1½ inches 20¼x20¼x3¾ cm
Mixed media on wood
Robert Brandwayn Light Condenser II (2018)
Robert Brandwayn Light Condenser II (2018)
8x8x1½ inches 20¼x20¼x3¾ cm
Mixed media on wood
Robert Brandwayn Light Condenser III (2018)
Robert Brandwayn Light Condenser III (2018)
8x8x1½ inches 20¼x20¼x3¾ cm
Mixed media on wood

Robert Brandwayn’s (Colombia) mixed media and gold leaf works show images of loss and memory tracing of images of the past in the infinite recourse of the collective memory of the Jewish people’s ordeals. Ghostly photos and ancestral writings resurge into present, and seals and scriptures interlace as resilient voices are revived for eternity.

Clark Medley In the beginning, there was only one language (2020)
Clark Medley In The Beginning, There Was Only One Language (2020)
72x48x1½ inches 183x109x3¾ cm
Mixed media

Clark Medley (USA) presents an Arabesque-like alphabet conjuring Chinese, Arabic, Japanese, Judaic, Hindi calligraphies into new glyphs of existential resonances and personal scripts. Collapsing turns and twists of visual writing of imaginary fonts in pulsating movements in repetition transcribe the artist’s perceptual and aural experiences.

Carola Orieta-Sperman Flame Mandarine II (2021)
Carola Orieta-Sperman Flame Mandarine II (2021)
33x20x20 inches 84¾x50¾x50¾ cm
Laser cut acrylic


Carola Orieta-Sperman’s (Argentina/USA) laser-cut acrylic sculpture pungently expands towards the outer negative space in incessant turns of flamboyant allure. In the Flame Mandarine Series, fire cosmic energy sets ascensional spiral continuous movements. Evanescent organic forms of enduring energies propagate as fractal attractors of a cosmic systemic chaos.

Lorien Suárez-Kanerva Wheel within a wheel 119 (2018)
Lorien Suárez-Kanerva Wheel Within A Wheel 119 (2018)
40x40x2 inches 101½x101½x5 cm
Acrylic on canvas

Lorien Suarez-Kanerva’s (USA) imposing networks of spirals, rectangles, and concentric circles in reiterative integrated patterns expand and retract in astounding visual interactions. On apulsating rhythm-movement continuum, superimposed imaginary blades open from a centered point to centrifugal directions towards the out space in an incessant rotation of clockwise undertaking.
Milagros Bello, PhD

Curator of the show

*Curator Dr. Milagros Bello holds a Ph.D. in Sociology with a doctoral thesis in Sociology of Art from Sorbonne University (Paris VII-Jussieu), Paris, France. Dr. Bello is an art critic member of the International Association of Art Critics (AICA). Dr. Bello has curated numerous shows in contemporary art locally and nationally; she is an art writer for local and international art magazines, and a former Senior Editor of Arte Al Dia International art magazine. Since 2000, she has taught as professor of art and critical theories at the Florida International University, Florida Atlantic University, Miami International University (The Art Institute/Miami), and the Istituto Marangoni/Miami. From 2010-2020, she was the director and chief curator of Curator’s Voice Art Projects in Miami, Florida/USA, that, due to the pandemic, pivoted to the new MIA Curatorial Projects.

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