PATHWAYS OF A VISUAL ALCHEMIST BY HUMBERTO PEREZ
In 1969, Mirna Salamanqués, a Young Caracas born self-taught visual artista, after none one-man exhibitions since her first one in 1962, she arrives in Paris-France where she establishes herself as a dedicated abstract painter. From being an office employee, a housewife and a spontaneius painter, as reportes used to label her in her native Venezuela, she enters the French School of Arte Deco, majors in mural Art under the guidance of 2 French Academicians from l´Ecole des Beaux-Arts, Mr. Jacques DESPIERRE AND Mr. George ROHNER and gains profesional experience as an intent at the craftmanship section of JESUS-RAPHAEL SOTO´s Art Studio.
After 3 years of rigurous schooling and active participation on Art Fairs and group shows all over Europe, Salamanques picks the fruit of her efforts when the painting ASSEMBLAGE 333 (ACRYLIC ON CANVAS 3´11 X 3´11, 1972) enters the permanent collection of the Paris Museum of Modern Art. At the 1972 “COMPARAISONS” showing this piece of work not only drew visitors and connoisseurs attention at the Grand Palais exhibiting grounds but it also raised controversial commentaries among members of the Art community and special acknowledgments from Art commisssioners and critics..
Her fruitful output and continuous performances made her recipient of an scholarships and grants from the French Government and the Venezuelan Instituto of Fine Arts (INCIBA) .
In 1974 at the 30 Salon de Mai headed by prestigious french critic Gastón Diehl, her painting ASSEMBLAGE FRANCIS RAAB, (ACRYLIC ON CANVAS, 3´11 x 3´11, 1974) received an acquisition-prize from the city of Paris. She also received awards from other french institutions such as the National Center of Contemporary Art (C.N.A.C.) and the Regional Center for University & Scholar Art Works (C.R.O.U.S.). As a result of her initerrupted exhibiting activity, she is granted an artist´ s studio at Cité Internationale des Arts Foundation´s Building. As soon as she moves into her Atelier with a view of St. Louis Isle and across from Notre-Dame´s catedral, she puts herself at work and develops a consistent graphic work on the subject of STRUCTURE.
Two years later. The French Department of Cultural Affairs offers her a huge working-space at the Smith Champion Foundation´s in Nogent sur Marne, nearby the Vincennes´ Woods. In this studio, she i sable to take to large-scale canvases most of her early studies, try outs and Graphic Assemblages made on paper during her school years. As an artista in residency at the Maison Nationale des Artistes, she steadily trusted her intuition as a powerful guiding force to bring about visual codes and signs of esoteric meaning out of primordial geometric forms. She challenged herself to create contemplative spaces out of rigid technological products by framing industrial serial patterns INTO BIG OSCILLATING ENERGY SPHERES and by enclosing recurring mechanical grids into vibrant poligonal Windows.
As a result of this prolific and imaginative working period, she reached notorious expressive fullness on her new output. She not only expanded artistically but also produced a large number of over sized Works which entered important Art Collections in France and in Venezuela.
Undelying structures, moving systems and fascinating COSMIC MANDALAS opened up a steep and long pathways toward sprotiality which after 30 years of ceaseless with more elation and resources tan ever.
UCLA, Los Angeles/ B.A. 87.