Ana Lía Werthein
Bio
She lives and works in Buenos Aires.
She holds a Degree in Psychology, is a psychoanalyst, and has a Degree in Combined Arts from the University of Buenos Aires (UBA), where she served as a full professor.
She studied painting with Demetrio Urruchúa,Miguel Dávila, Luis Felipe Noé, Viviana Zargón, Leila Tschopp, Carla Rey, and Eduardo Stupía.
She is the author of the books *Más acá del horizonte* (2008), presented at MALBA, Buenos Aires; *Hacia una poética de la producción* (2016), presented at the National Museum of Fine Arts, Buenos Aires; and *El arte, la escritura, el campo y los psicoanalistas* (2020), presented by the Freudian School of Buenos Aires and the Cultural Center, Buenos Aires. All three books were published by Rodrigo Alonso Ediciones.
In 2026, she participated in *El Camino. Proyecto El Ojo que Atrapa* (The Path: The Eye That Captures Project), organized by Circle Pro Art, and in *Resplandecer. Homenaje a Augusto Ferrari* (Shining: A Tribute to Augusto Ferrari), at Galería Centro de Edición.
In 2025, he won First Prize in the Graphics category at the National Visual Arts Salon (SNAV) and held a solo exhibition at Dain Usina Cultural, CABA.
In 2024, he presented *Anudasueños*, a collection of paintings, at Galería Marifé Marco in Barcelona, Spain.
Statement
“VIVACIDAD”
In nature, everything can sometimes appear homogeneous and silent. But suddenly, the movement of the leaves, the wind, or the incidence of a ray of sunlight causes a section of the forest to acquire “Vivacidad.” It stands out from the rest, comes to life, and captures the viewer’s gaze.
I call “point of Vivacidad” the intersection between a variable that nature itself presents as a distinct focal point and the way it captures the viewer’s gaze. It can emerge from a flash of light, an unexpected movement, or an opening in the foliage that suggests a “void.”
At that point, nature becomes subjective. It ceases to present itself as a homogeneous landscape and becomes particular, alluring, and evocative, as if pointing toward something that each person must discover for themselves.
The works in this series locate these scenes. They do not seek to represent the forest as a whole, but rather to point to precise and fleeting moments in which a dialogue takes place between the viewer’s eye and nature’s gaze coming from outside.
The series consists of nine small-format works. Together, they form a “moving mural,” organized around these different points of “Vivacidad,” which can also be perceived by the viewer as works in their own right. They are digitally manipulated photographic images transferred onto mirrored acrylic surfaces.
The reflection incorporates the space of the other, the light, and the viewer’s position, causing the image to change according to the place from which it is viewed. “Vivacidad” is not fixed within the photograph. It is produced anew each time light, space, and the viewer’s gaze transform the work. There, a new “point of Vivacidad” emerges.
Additional information
136 x 106 cm políptico
