Los Angeles-based artist, Analia Saban (b. 1980, Buenos Aires) takes traditional artistic media, such as paint, marble, and canvas, and pushes their limits in inventive ways that merge scientific experimentation with artmaking. In her Draped Marble works, Saban bends slabs of marble to the brink of destruction. Arced over walnut sawhorses, the fractured yet stable marble appears fragile and pliable. Alluding to the age-old idea of the artist turning something unbelievable into the believable, Saban's marble works also make historical reference to the billowing fabrics rendered in the same material by Renaissance sculptors, such as those in Michelangelo's Pieta.
Saban also dissects what painting has been known for and explores what it can be now. She often uses paint as a sculptural element to better understand the physical properties and boundaries of the medium. In her new series, Saban uses a loom to weave dried brushstrokes of acrylic paint within the linen's wefts and warps, subverting the custom of paint on canvas to create works that hover between paintings and objects. The weavings often illustrate references to topics such as architecture or technology, while underscoring and reveling in the handmade characteristic of an artwork. Often engaging sculpture, painting, photography, printmaking, and textiles in a single piece or series, Saban blurs the distinctions between media, questioning the material and conceptual limits of a traditional artwork while revitalizing the notion of what art, or the process of making art, can be.
Los Angeles-based artist, Analia Saban (b. 1980, Buenos Aires) takes traditional artistic media, such as paint, marble, and canvas, and pushes their limits in inventive ways that merge scientific experimentation with artmaking. In her Draped Marble works, Saban bends slabs of marble to the brink of destruction. Arced over walnut sawhorses, the fractured yet stable marble appears fragile and pliable. Alluding to the age-old idea of the artist turning something unbelievable into the believable, Saban's marble works also make historical reference to the billowing fabrics rendered in the same material by Renaissance sculptors, such as those in Michelangelo's Pieta.
Saban also dissects what painting has been known for and explores what it can be now. She often uses paint as a sculptural element to better understand the physical properties and boundaries of the medium. In her new series, Saban uses a loom to weave dried brushstrokes of acrylic paint within the linen's wefts and warps, subverting the custom of paint on canvas to create works that hover between paintings and objects. The weavings often illustrate references to topics such as architecture or technology, while underscoring and reveling in the handmade characteristic of an artwork. Often engaging sculpture, painting, photography, printmaking, and textiles in a single piece or series, Saban blurs the distinctions between media, questioning the material and conceptual limits of a traditional artwork while revitalizing the notion of what art, or the process of making art, can be.
Los Angeles-based artist, Analia Saban (b. 1980, Buenos Aires) takes traditional artistic media, such as paint, marble, and canvas, and pushes their limits in inventive ways that merge scientific experimentation with artmaking. In her Draped Marble works, Saban bends slabs of marble to the brink of destruction. Arced over walnut sawhorses, the fractured yet stable marble appears fragile and pliable. Alluding to the age-old idea of the artist turning something unbelievable into the believable, Saban's marble works also make historical reference to the billowing fabrics rendered in the same material by Renaissance sculptors, such as those in Michelangelo's Pieta.
Saban also dissects what painting has been known for and explores what it can be now. She often uses paint as a sculptural element to better understand the physical properties and boundaries of the medium. In her new series, Saban uses a loom to weave dried brushstrokes of acrylic paint within the linen's wefts and warps, subverting the custom of paint on canvas to create works that hover between paintings and objects. The weavings often illustrate references to topics such as architecture or technology, while underscoring and reveling in the handmade characteristic of an artwork. Often engaging sculpture, painting, photography, printmaking, and textiles in a single piece or series, Saban blurs the distinctions between media, questioning the material and conceptual limits of a traditional artwork while revitalizing the notion of what art, or the process of making art, can be.
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