Living Coral

2019, (addicted to nature series)

Shanery Obeso

Oil on raw linen

75 x 75 cm 

Unframed 

(Ships from Peru)

£1,500.00
Original piece of art

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Artwork description

Shanery Obeso uncovers the relationship between the natural world and its forced transformation due to relentless human interventions. Her work emphasises overconsumption while showing its impact on the social, political, and environmental reality. Living Coral contrasts the synthetic Pantone colour to the rising ocean pollution, which leads to corals inevitably dying. This seemingly playful painting is a grim reflection of the ironic reality in which we live. It works as a constant reminder that our interventions into nature often have an optimistic glaze but can have catastrophic impacts in the long run.

Shanery Obeso

Born in 1977 in Arequipa, Peru, today she works and lives in Lima.She has a degree in Communication Sciences (Universidad Católica de Santa María, Perú) and in Plastic Arts (Universidad Nacional San Agustín, Perú). She has a degree program in Fashion (Mod'Art International, Perú) and another in Contemporary Photography (Escuela de Artes Visuales Corriente Alterna, Perú).

Interested in the expressive possibilities that different materials can provide, she took workshops with artisans and artists in specialties such as ceramics, resins, silicones, stained glass, leatherwork, basketry and carpentry.

 

When she moved to Lima she worked as a museographer and designer at the Directorate of Museums of the Ministry of Culture.

In 2019 she had her first individual exhibition, "Addicted to Nature", at Espacio La Sala.

She participated in the ArtLima 2019 International Fair, in the Platform Section.

 

She has participated in several group exhibitions, the most recent are:

Together Through Painting, at London Paint Club, Contemporary Painting Digital Platform, London, 2021.

Art of Water V, at James May Gallery through the Artsy.net Platform, Wisconsin, 2021.

Fragility, at Impromptu del Cultural Gallery, Trujillo, 2019.

No - Lugar, traveling exhibition at the Centro de las Artes de la Universidad Católica San Pablo de Arequipa, Arequipa, 2019.

Arte Feliz, with Kusimayo, Lima, 2019.

Parto 1095, at Espacio La Sala, Lima, 2018.

No - Lugar, traveling exhibition, at Sala Scotiabank, Cusco, 2018.

Memoria Futura, at the Escuela de Artes Visuales Corriente Alterna, Lima, 2018.

 

 Artist statement:

The raison d'être of my work is to remind us of the close existence between human beings and nature, to which we owe our existence. I consider it important to show the danger of continuing to turn the Earth into an experimental laboratory providing satisfaction, which comes from a system of unsustainable production and consumption, generating the degradation of its ecosystems and endangering the current and future integrity of the environment and life.

 

I use images from the web or landscapes that appear in the advertising of fast fashion magazines such as VOGUE and intermingle them to build a new discourse with an inverse meaning to the original images.

I see the same inverse concept in the paradoxical ambition of today's man to "make the most" of his life, living it intensely while destroying his only provider of air, water, food and habitat. I am interested in the landscapes that appear in the advertisements of magazines that feed on hyper-consumption, because they represent the idealization of nature that they sell us and that they try to make us consume unsustainably. Something similar happens with internet images that are fed in such a way that they feel infinite as we feel nature and we take for granted that they are available to everyone with the only cost of the fee for internet and we do not realize that every search we do releases CO2 into the environment, as do almost all the activities we do in the day.

 

Although I work with different techniques, most of my production is in the realistic painting, which maintains the same invoice, but change their visual according to the series I work, linking the composition to the conceptual development of the series.

 

The visual language of the works has in different nuances a confrontational attitude to seek a public response to the passivity of society in the face of climate change.

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