Magdalena Fernández’s versatility as an artist is a reflection of her path through the fields of Physics and Mathematics, Graphic Design, Visual and Sound arts. In the nineteen nineties, she began to experiment with participative works that echoed the profound modernist history of Venezuelan art, referring to interventions in public spaces and collective experiences such as those previously configured by artists like Jesús Rafael Soto.
Fernández has kept in dialogue with her modernist predecessors, establishing formal links in more recent media, both analogue and digital, that materialize abstraction into a historical discourse subject to widening, modifications, and distinct recoveries. An important part of this process has been to return to abstraction its worldliness, its connection to the natural environment and all those landscapes and soundscapes the experience of which transcends representation or metaphor. The instability of the canon of abstraction at Fernández’s hands finds echo in the unbalance of nature: change, movement, fragmentation, and transformation –all of them elements often contradictory of the organic form– constitute the departure point to relate art, artist and spectator.
Through video, installations, sculpture, drawing and graphic works, the artist moves the body into structures that tend towards change, promoting the fluidity of something that in principle would appear entirely solid.
Currently, Magdalena lives and works in Caracas, Venezuela.