Alicia Marván (Mexico/USA) is an artist, designer and curator dedicated to contemporary and experimental practices. Her interdisciplinary approach to art/life has led her to an ongoing investigation of a variety of media that explores space, form, movement, time and thought, often in relationship to the human body. Current projects bridge performance, sculpture and architecture, delving into human physicality and identity as they relate to place and history. She is currently Director of the Guapamacátaro Center for Art and Ecology (Mexico), Associate Artist with Lower Left Performance Collective (USA/Europe), and collaborates with independent artists from different disciplines worldwide. Her work has received support from cultural and academic institutions in USA, Canada, Mexico, Chile, Uruguay, Brasil, Portugal, Germany, The Netherlands and South Africa, such as the Canada Council for the Arts, Ontario Arts Council, Breuninger Foundation, Goethe Institut, Stroom Den Haag, the Museum of Contemporary Art San Diego, The Tree Museum, Movement Research, and Sushi Performance and Visual Art, among others. Influential artists include Hussein Chalayan, Matthew Barney, Robert Wilson, Pina Bausch, Gordon Matta-Clark, Wolfgang Laib, Maya Lin, Lygia Clark and Trisha Brown.
I believe art is a powerful tool for transcending human struggle. I strive to create work that has the ability to inspire, uplift and provide stimulating platforms for exchange. It is through art that I integrate my experience of self, nature and society, and it is through art that I intervene in shaping our world.
My artistic practice emphasizes the sculptural and poetic inherent in the human body and its actions, intersecting media and processes in order to engage space, place and environment. The majority of my work is site-based and rooted in social practice, motivated by a desire to immerse myself in diverse cultures and create art that is relevant to its specific context. Invested in the dialogue between art and life, as well as the interaction between art/space/viewer, my art often appears in unconventional spaces such as urban, industrial and natural settings.
I seek an aesthetic of spare elegance that is bold and uncluttered, multi-dimensional yet focused. Fascinated with color, light, form and texture, I design each of my works around carefully chosen formal elements. With a heightened awareness of human behavior and the interconnectedness between living and non-living matter, I create art that can be experienced, touched, eaten, worn or inhabited. In doing so, I am interested in triggering sensorial and neurological reactions in the observer/participant, tapping into memory, sensuality, the subconscious and the imaginary.
These various interests converge to create objects, environments and situations where the body relates to the external world in unexpected ways; where beauty, surprise and discovery generate pleasure and appreciation for life.
MFA THESIS PROJECT
A new series of kinetic art installations that incorporate biological data, weaving patterns, and toy UAVs (quadcopter drones). The project takes real data related to biological species (food web relationships, migratory patterns, extinction statistics, etc) and turns it into monumental woven sculptures. Different size drones, each carrying a spool of thread, are programmed to follow different paths, as biological species do, weaving their trajectories into structures reminiscent of both microscopic and cosmic architecture. Abstracted numbers and relationships become audible, visible and tangible through a playful choreography that is both organic and mechanical. The selected site (Silo City in Buffalo, NY) offers a perfect context, allowing the project to make links between history, architecture, urbanism, ecology and technology.