Grimanesa amoros biography for kids
Ep features Grimanesa Amorós. Throughout her career, Peruvian-born American artist Grimanesa Amorós has harnessed the medium of light to create immersive monumental sculptures that engage visitors in contemplation of their cultural heritage, community, and relationship to technology. In the art of Amorós, the past is meeting the future. Her childhood fascination with light began on the shores of her homeland in Lima. The tumultuous waters of the immense pacific ocean would create iridescent sculptural foam. Amorós sites watching bubbles deflate and inflate, as if breathing, for the formal decisions in her later work. Describing her work as a &#;constant romance with the unknown&#;, Amorós first incorporated light into her practice following a fated trip to Iceland. While there, she saw the northern lights and realized the powerful ephemeral magic light held. She discusses light&#;s ability to transcend social and geographic boundaries &#;we all connect to light.&#; Drawing upon critical cultural legacies and landscapes, Amorós is inspired by the communities she creates within. Installing and programming each piece on-site, direct interaction with the surrounding architecture is key to creating her work. &#;Ultimately, the piece connects the viewers, space, and light sculpture, merging them into one.&#; Jane Farver writes, &#;A joyful and generous spirit, Amorós views her art as a gift to others.&#; Amorós has connected cultures and viewers through the medium of light in the United States, Europe, Asia, the Middle East, and a Latin America as a guest speaker at TED Global and as a part of the Art in Embassies Program of the US.
Artist
Artist interviews
Leila Heller Gallery
Curbed
Hyperallergic
Ted Global
BBC
Wellbeing Project
A Women’s Thing
Arte & Lusso
Arab News
Arte Realizzata
Brooklyn Museum
Art Summit
Arc Magazine
Arab News
Bazaar
Artforum
Art Nexus
Artists Studios
AMPLEXUS 85ft ft x 85 ft x 32 ft This work explores the interplay between biology and society. I pose two questions: To what degree are gender-specific roles biologically determined? And what happens to those roles as both society and biology evolve? The ideas arose in a very personal context; during my pregnancy, and afterwards when I was nursing our daughter, I noticed how curious my husband was about my experiences. More than once he pressed Shammiel against his own nipple to see if she would suckle. I wanted to create a piece around motherhood, and the unbridgeable gulf between the male and female bodies, specifically in the area of reproduction. Then I began to imagine ways in which that gulf might be bridged. Central to this work is the concept of male pregnancy. Given recent startling developments in our understanding of genetics and medicine, we may soon see a future in which women and men will both have the opportunity to carry a pregnancy. This shift would have not only enormous biological ramifications, but would also motivate a reexamination, if not total upheaval, of deep-rooted social conventions. In “You Cannot Feel It…,” I fantasize what such a world might be like. Viewers move through the installation along a spiral path, guided by hanging transparent fabric. Within the space, people encounter “clones” of a new kind of human body: Eleven handmade paper sculptures of a pregnant female torso onto which are spliced eleven identical male heads. These sculptures were cast from a mold of my body, taken the week before I gave birth to Shammiel, now ten years ago. The floor beneath and around the sculptures is covered with soft, pale sand, evoking the idea of the earth as a foundation for biological manipulation. As they walk, viewers are able to feel the texture underfoot. I had the opportunity to collaborate with lighting designer Steve Dubay and composer Meshell Ndegeocello, who created a piece of music specifically for the installation. The lighting and Peruvian-American artist Grimanesa Amorós (gri-mah-NEH-sah-ah-moh-ROHS; born in Lima, Peru) is a Peruvian-born Americanmultimediaartist known for her work with light and technology. She creates large-scalesculptures that explore themes of cultural heritage, community, and the intersection of technology and art. After a trip to Iceland, her work began to incorporate lighting technology as a medium to enhance conceptual depth rather than defining it. Amorós’s installations have been exhibited internationally at venues including the Ludwig Museum in Cologne, Germany and the Central Academy of Fine Arts in Shanghai, China. Notable projects include Uros House at Times Square in New York City and Golden Waters at the Scottsdale Waterfront in Arizona. In addition to her artistic practice, Amorós has lectured at institutions such as the NYUStern School of Business,Brown University, and events including TEDGlobal and UBS x Art Basel in Hong Kong. Her art draws inspiration from cultural legacies, natural landscapes, and societal themes such as mental health, aiming to create immersive experiences that connect viewers, spaces, and communities. Grimanesa Amorós was born in Lima, Peru in Her father was a civil engineer, and her mother was a creative. While Amorós often observed her mother at work, both of her parents profoundly influenced her future artistic practice. At the age of 11, Amorós developed a fascination with maps, which her mother recognized as a sign of her creative inclinations. In response, she enrolled Amorós in paintingclasses, nurturing her budding artistic interests. Amorós pursued higher education in psychology, studying full-time at un “I created ‘Golden Waters’ so when the public engages with the work, they are not only drawn in, but are able to stop, think and observe,” artist Grimanesa Amoros explained to the Huffington Post. “By looking, we are informing ourselves and deciding how to get involved with what we see. During the moment of engagement, the work hopefully takes viewers into a space of reflection where they themselves might be surprised by their reactions.”REAL LIFE. REAL NEWS. REAL us tell more of the stories that matter from voices that too often remain ibe Now Amoros is the mind behind “Golden Waters,” an electric artistic intervention spread atop the mile-long body of water that is the Arizona Canal. Using an LED tubing system, Amoros crafts a glowing serpentine stream at the nexus of light and water, nature and metropolis. Born in Lima, Peru, Amoros was inspired by her childhood travels when crafting the public art piece as well as the Peruvian people’s ability to combine beauty and survival. “As a teenager, growing up in Lima, I would travel throughout Peru whenever I could,” she said. “My goal was to see as many of the country’s historical sites as possible.” Specifically, Amoros was moved by the Uros Islands in Lake Titicaca in southeast Peru, floating islets made entirely out of totora reeds. “The pre-Incan Uros people, who lived on 42 self-fashioned floating islands, built everything out of these reeds — from houses to watch towers.” “The Uros people are very similar to the Hohokam people. They both used ingenuity to survive and improve their existence.” The Hohokam people, also known as the Canal Builders, were another major source of inspiration for Amoros. “They developed an ingenious irrigation system that enabled them to become the most skillful farmers in the Southwest as early as A.D.,” she said. Their use of the canal inspired the central concept behind “Golden Waters,” A
Noor Riya Grimanesa Amorós
Grimanesa Amorós
Early life and career
Artist Grimanesa Amoros Combines Architecture And Ecology For Spellbinding Public Work