Thesis Studio Project

A Contemplative View and The Strange Feelings it Arises, acrylic and oil on canvas, 52”x 52”, 2020.

I Sing for You/Dead Birds, acrylic and oil on canvas, 60”x 48”, 2020.

Ascension, acrylic and oil on canvas, 60”x 48”.

Recycling/Critical Mass, acrylic and oil on canvas, 50”x 50”.

The Hidden Virus/#48, acrylic and oil on canvas, 48”x 48”, 2021.

Posted on: April 7, 2021
Views: 747


A Comment on the Inmutable, the Virulent, and the Undeniable.

During this past year to this day, we have been challenged as individuals, and as communities with a global pandemic. This world health disaster has shaken us to the core, and questioned our ways of thinking, acting, communicating, and being. It has brought such pain in isolation, illness, and death. And with it also came the joy of overcoming the desease, surviving, and reaching to each other. This pandemic has also questioned us deeply about our relationship with ourselves, others, the natural environment, and the world at large.

During this time, as an addition or maybe as a consequence of this experience, many truths about ourselves, others, and the social structure of this world have surfaced, and questioned our ways of being. We have lived through vulnerability, mental health breakdowns, and social disaster in a natural world that keeps embracing the human species as one more of her offspring.

The conceptual frame for this body of work comes from deeply personal experiential recounts during this strange time that connect to a bigger communal experience in the affected world. This series of paintings work through concepts of isolation, anxiety, depression, denial, awakening, illness, and death. It also comments on the deep changes that occur internally when facing an event like this, and the hope for a better humanity, one that is evolving to be all inclusive, and that recognizes what a privilege is to be alive.

Other Projects by Claudia Sanchez Daza

Claudia Sanchez Daza

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MFA Student

Major: Painting

Graduation Year: 2021

Artist Statement:

I have always perceived life around me as chaotic, beautiful and daunting. I try to understand life on this planet as an amalgamation of diverse sources of information that have material and immaterial manifestations. Life to me looks like a collage; it does not always make sense the first time you look at it, but if you pay enough attention, meaning emerges from the chaos.
Painting has given me the chance to touch the world as an interloper that wants to make sense of what is real, and also wants to know what lies beyond. At this moment in time, technology has simultaneously brought us closer to each other than ever before, and shown us how far apart we have been. Painting carries a long history of exclusivity and privilege, but I strongly believe in painting’s renewal as a source for discovery and inclusiveness for audiences and artists alike.
Traditional ways of painting can be used as a means to access the interior worlds of artists. Many artists have the urge to try to understand, document, and shed light onto the events of our world through the filters of unique lived experience. Painting is one device that has the potential to bridge the gap between social and cultural disparity by making available a wide spectrum of ways of perceiving and thinking.
In the studio, I apply the principles of collage, formally and conceptually. My work applies collage methodology within allegorical painting to bridge cultural and social gaps between the maker and viewer so that we can meet inside the work of art.