Fanny Sanín creates from within.
The Colombian-born artist’s abstract geometric paintings, a pair of which are now on view at the National Museum of Women in the Arts, aren’t based on objects in the physical world, but generated from within her mind. The solo exhibition, “Equilibrium,” aims to highlight Sanín’s meticulous process, showcasing preliminary drawings alongside two completed paintings.
“It’s the idea that an abstract composition can be just as painstakingly detailed and planned as a representational image,” says associate curator Ginny Treanor.
Most of the 36 works on display use bold colors and sharp lines. Eleven colored-pencil drawings accompany Sanín’s 2011 “Acrylic No. 2,” a 62-by-60-inch work on canvas. Five acrylic studies precede her 2016 “Composition No. 1,” a 25.5-by-40-inch acrylic and pencil composition on paper. “Equilibrium” also includes her work from the 1960s and ’70s, some of which fall under abstract expressionism.
The exhibition is part of a larger movement that seeks to shed light on female abstract artists, who have often been overlooked or accused of copying the work of male artists. “Women of Abstract Expressionism,” a larger exhibition that opened at the Denver Art Museum last year, got the effort going.
“If you think of someone like Lee Krasner, who was Jackson Pollock’s wife, or Elaine de Kooning, Willem de Kooning’s wife — they were a little overshadowed by their significant others,” Treanor says….