Guadalupe Ortega Blasco
Bio
Guadalupe Ortega Blasco (Entre Ríos, Argentina, 1985)
She holds a BA in Painting from the National University of Córdoba (2012) and a Diploma in Art Applied to Society from Uberbau House, São Paulo, Brazil (2020–21).
In 2018, she received the Second Prize in the National Arts Fund Competition (Argentina) in the Painting category. In 2015, she was awarded First Prize in the “Open Exhibition” competition organized by the Secretariat of Culture of Córdoba City.
Her solo exhibitions include Recuerdo de las especies (2012), curated by Carla Barbero at MUMU, Córdoba; La doble naturaleza (2013), curated by Massimo Scaringella at Centro Cultural Borges, Buenos Aires; Cuerpos Partidos (2015) at Galería Anselmo, Buenos Aires; La Unión de las formas (2019), curated by Verónica Di Toro; and her most recent solo exhibition, Retrato Creciente (2022), curated by Federico de la Puente—both held at Quimera Galería, Buenos Aires. She also presented Superficies de placer.
Her latest group exhibition took place at Centro Munar (Buenos Aires), alongside the artistic collective of Julia Sbriller and Joaquín Wall. She also participated in Área (2017), curated by Omar Porto at Espacio Saracura, Rio de Janeiro, Brazil.
In 2016, she was awarded a residency at the Vermont Studio Center (USA). In 2013, she received an art grant from Fundación Tres Pinos, including project mentorship by artist Juan Astica and curator Massimo Scaringella.
Her work is part of private collections in England, the United States, Peru, Lisbon, Slovenia, and Argentina, as well as public collections such as the Genaro Pérez Museum (Córdoba, Argentina) and the Fundación Tres Pinos Collection (Buenos Aires, Argentina).
Statement
In my work of recent years, I have explored—through an intimate lens—the vitality of matter and its impulses, a nearly transgenic hybridization of form and texture that mutates into organs beating within a darkness that could be that of a wild animal’s ribcage or the gynoecium of a pollen-filled flower. Painting allows me to enter the dark in order to illuminate, with a minimal flame, the sheen of moist tissues.
I find myself engaged in a study of a primitive formalism that, with broad evocations of naturalism, enables me to investigate the boundary that defines when something is something—and what grants it entity.
2.5 x 4m / 98.4 x 157 in
