|Nacimiento:||1981 en México|
|Residencia:||Reside en San Francisco, California, Estados Unidos|
|Exposiciones colectivas vigentes:||Mi Tierra: Contemporary Artists Explore Place|
|Galerías y otras organizaciones que le representan:||Wendi Norris|
|Enlaces oficiales||Web Twitter|
Ana Teresa Fernández es una artista nacida en 1981 en Tampico, Mexico, cuyo trabajo se mueve entre la pintura realista y la hiperrealista. Con un Master en Bellas Artes en el San francisco Art Institute, su vida ha discurrido entre su Mexico natal y los Estados Unidos y ha exhibido internacionalmente de México a San Francisco y de Nueva York a Sudáfrica. Sus pintura están realizadas principalmente con óleos sobre lienzo aunque también trabaja en carbón vegetal sobre papel y otras técnicas. Bio (English) Ana Teresa Fernández was born in 1981 in Tampico, Mexico, and she lives and works in San Francisco. Through her work, she explores the politics of intersectionality and the ways it shapes personal identity, culture, and social rhetoric through painting, performance, and video. Her work illuminates the psychological and physical barriers that define gender, race, and class in Western society and the global south. Fernández has exhibited at Humboldt State University, Eureka, California; the Tijuana Biennial in Mexico; Snite Museum at Notre Dame University, Indiana; Yerba Buena Center for the Arts, San Francisco, and The Oakland Art Museum. Her large-scale 5W public art project in San Francisco was awarded Best of the Bay by 7×7 Magazine in 2013. The Headlands Center for the Arts granted Fernández the Tournesol Award and her films have been screened at festivals internationally. In 2015 Humboldt State University published a catalogue on her solo exhibition at the First Street Gallery titled All or Nothing. Artist’s Statement Through painting, performance, installation and video, I enact and participate in the politics of intersectionality, as it shapes the personal identity, the political rhetoric and culture, and the everyday tasks of ordinary people. My work illuminates the barriers, both psychological and physical, that confine and divide gender, race, and class in western society and the global south. My performances investigate how women identify their strengths and sensuality with acts of labor in which there is no visible economic or social value; in fact, many of these tasks are frequently considered "dirty." I use painting as a form of documentation of these performances and, in doing so, I challenge the medium's mostly-male and privileged history that elides labor and the messy process of making. I feel my documentation of performance through paining renders it more contemporary because it is a copy of the real in the original sense of simulacrum. The painting to documentation process begins with site-specific performances that are first photographed. I use the photo to create the paintings in which I depict myself completing a real action, in a real time and space. The sites I choose are already politically or historically charged. I dress in Tango attire, performing cleaning activities, domestic chores, or actions that use my body as a measuring device. I push against the space of the performance, knowing its tangibility will be more material in the film. The dance references the battle between media representations of gender and autonomy, or the agency we seek to perform our own identities. I believe performing this tension confronts issues of labor and power. Working with these themes has led me to dialogue, collaborate, and create both public and private works within various communities and residencies in the US, Mexico, Haiti, Spain and South Africa. Interactive installations and public interventions are an imperative part of my practice as an artist. I use an array of materials that directly engage the history and tension of a site. The public sphere and the bodies who comprise it are always essential to my work because it becomes the catalyst and activator. In Borrando la Frontera (Erasing the Border) I painted the US/Mexico divisor fence in Tijuana, sky blue to erase a portion of it. I created 5 large scale light public art installations in Downtown San Francisco asking the questions WHO, WHAT, WHEN, WHERE, WHY, to address and create public dialogue about the ongoing social tension about the gentrification in Mid Market area. My work presents the body in ways that question how we often see things. It offers moments of reflection in the most mundane of places. I am interested in using my visual language to transcend the given and provide alternate truths.
Cuatro importantes muestras tienen lugar en el Museum of Contemporary Art Denver, el Denver Art Museum, el Museo de las Americas y el Boettcher Cultural Pavilion del McNichols Civic Center ...