|Nacimiento:||1966 en Vancouver, British Columbia, Canadá|
|Residencia:||Reside en Los Angeles, California, Estados Unidos|
|Exposiciones colectivas vigentes:||A Very Anxious Feeling: Voices of Unrest in the American Experience|
|Ferias en las que participa con OBRA :||ZONAMACO 18|
|Galerías y otras organizaciones que le representan:||Diane Rosenstein, McClain Gallery|
|Organizaciones con obra:||Frederick R. Weisman Art Foundation, Laguna Art Museum, Los Angeles County Museum of Art (LACMA)|
GISELA COLON (Vancouver, Canada, b. 1966) was raised in San Juan, Puerto Rico and received her BA from the University of Puerto Rico (1987) and JD from Southwestern University School of Law, Los Angeles (1990). Colon lives and works in Los Angeles, California. Colon is an American contemporary artist who has developed a unique vocabulary of “organic minimalism,” breathing life-like qualities into reductive forms. Colon’s work is the product of cross-cultural influences, fusing characteristics of Minimalism, Light and Space, Finish Fetish, Op Art, and Kinetic Art movements. The through-line in all of Colon's work is the concept of the "mutable object;" the sculptures are conceived as "non-specific objects" that transmute their physical qualities through fluctuating movement, varied lighting, changing environmental conditions, and the passage of time. Colon's oeuvre encompasses several distinct sculptural forms: Pods, Slabs, and Monoliths. The Pods are created through a proprietary fabrication method of blow-molding and layering various acrylic materials, producing transformational objects that emanate light and color from within. The Slabs are 8-foot tall hybrid creations that amalgamate the use of acrylic technology with polished stainless steel, resulting in objects that hover between materiality and immateriality. The Monoliths are 12 and 15-foot tall vertical singular-form sculptures, engineered with aerospace technology, possessing no lines, corners, edges, or demarcations, conceived as pure form to denote clarity and aesthetic purity. Colon began her career as a painter, exhibiting abstract works from 2005 to 2011. In 2012, Colon moved into sculpture, focusing on perceptual phenomena. Colon’s friendship with mentor DeWain Valentine, and the ideals and practices of Robert Irwin, James Turrell, Larry Bell, John McCracken, Doug Wheeler, amongst others, generated a conceptual shift in her work increasing her interest in issues of visual perception, and materiality, which led to the creation of her plastic sculptures body of work. Colon's sculptural practice of generating interplay between light, perception, and lucid materiality embodies the ideals and the evolving investigations of the California Light and Space movement. Colon also has been influenced by Minimalism, particularly the writings and work of Donald Judd, Dan Flavin, Agnes Martin, amongst others. Taking a cue from Donald Judd’s notion of “specific objects,” Colon has dubbed her own works “non-specific objects” to highlight their deliberate fluid indeterminacy. The artist, who was raised in San Juan, Puerto Rico, also identifies the early influence of Latin American artists such as Jesus Rafael Soto and Carlos Cruz-Diez on her practice. Colon’s sculptural work continues a conversation with Latin American geometric modernism and the legacy of Op Art. Colon’s work has been the subject of solo museum presentations at The Butler Institute of American Art, Youngstown Ohio (2016), International Museum of Art & Science (IMAS), McAllen, Texas (2016); Castellani Art Museum, Niagara, New York (2016-2017); Museum of Arts and Sciences (MAS), Macon, Georgia (2017); forthcoming at the San Angelo Museum of Fine Arts, San Angelo, Texas (2017–2018); South Dakota Art Museum, Brookings, South Dakota (2018); Daum Museum of Contemporary Art, Sedalia, Missouri (2018); Hilliard Art Museum, Lafayette, Louisiana (2019); and Foosaner Art Museum, Melbourne, Florida (2019-2020). Colon’s work has also been presented in group museum exhibitions in the US and Europe at the Kunstmuseum Wilhelm-Morgner Haus, Soest, Germany (2014); the Chabot Museum, The Netherlands (2016); the Grand Rapids Art Museum, Michigan (2016); the Neuer Kunstverein, Kunstlanding, Aschaffenburg, Germany (2017); the Palm Springs Art Museum (2017); the Laguna Art Museum (2017); the Center Museum (2017), the Fredrick Weisman Museum (2017); and forthcoming at the Palmer Museum of Art, Pennsylvania (2018); the Jordan Schnitzer Museum of Art, Oregon (2018); the Smith College Museum of Art, Massachusetts (2019); and the Chasen Museum of Art, Wisconsin (2019) . Colon’s sculpture is in the permanent collection of the Los Angeles County Museum of Art (LACMA), the Museum of Contemporary Art San Diego (MCASD), The Butler Institute of American Art, Youngstown, OH; the Castellani Art Museum, Niagara, NY; the Grand Rapids Museum of Art (GRAM), Grand Rapids, MI; the Palm Springs Art Museum (PSAM), Palm Springs, CA; the Laguna Art Museum, Laguna Beach, CA; and the Fredrick R. Weisman Foundation.