One of the most interesting exponents of her generation, Fernanda Levine, through her works, slips masterfully between different techniques and media, reaching the exact moment where what is transmitted enters our visual aesthetically masked and yet sustaining the critique intact, direct and unveiled.
In her role as a painter, the media in which she is mostly known, Levine shows a fluency and precision that distinguishes her among her peers, and in her latest series "Permiso de vacaciones" (Permission for holidays) she skirts the borderline between impressionism and the fading of shapes.
Fernanda Levine manages to be an interpreter of social events such as migration, HIV and restrictions or prohibitions as effects of the pandemic. Her work brings the topics into spaces where reflection raises its focus and the viewer receives part of the responsibility for the conflict on display. For this purpose the artist subtly but persistently makes us part of familiar scenarios, of reflections, of closed frames from which it is very difficult to escape.
"Some of the factors that affect my work are the political, economic and social contingencies in which I am involved; I am an artist of my time and my territory. Painting is my essence and my axis, which does not prevent my curiosity from taking me out of my comfort zone and leading me to get to know new landscapes and paradigms".
Fernanda Levine, Santiago de Chile 1975.
She grew up with a grandfather who was a painter and another who was an art collector, so from an early age she was aware of the contrasts that exist within the art world.
As a result of her academic training, family background and personal interests, she has developed an extensive and diverse understanding of techniques that allows her to experiment freely in the means of production of visual narratives in the XXI century.