Personal Statement

With 40 years of experience in art, primarily sculpture, Nidia Del Moral has developed work influenced by the events of her life in a context where nature, society, politics, and family have been central to her artistic discourse. This discourse allows her to express the inherent thoughts and emotions of life through form. Her commitment to sharing, solidarity, love, and ethics is reflected in her art, making it a means of communicating her essence. Her work has gained international exposure through exhibitions, competitions, and symposiums, enriching her artistic endeavors and enabling her to observe other cultures and creations. Among her current objectives is to further international recognition of her work and to be valued as a woman, artist, and human being.

Nidia Del Moral | THE REINTERPRETATION OF FORM (by FREDDY CARREÑO)

In her work over the last ten years, Nidia Delmoral has traveled a path of significant transformations in her sculptural work, which translate not only into a new formality, but also into the recognition of change as a transcendent intellectual process. A fact that meant for the artist, the reinterpretation of her entire work, the obligation to redefine it as a language, therefore, to reinvent it visually. Commitment that she has assumed with will and enthusiasm based on what she has accomplished, her accumulated experience, her achievements, her disagreements and her hopes.

Delmoral's work has always been characterized by its expressive force, in which matter has played the leading role as support for the intensity of the form. Thus, the wood, and the value of the organic present in his previous pieces, modeled a volumetric proposal that communicates emotions and sensations, gave meaning to a creative work rooted in the affective: love of the territory, its nature, the material, to the people who live there. The circular shapes and curvature planes, the deep, forceful cuts, sometimes the roughness of the material, formed the visual code that has marked his work, and that makes it recognizable in the set of multiple expressions that characterize the visual arts. Venezuelans of the last two decades.

An example of this statement is the Barrenas series, pieces in which an almost primitive force dominates its formality, generating an unrefined but suggestive aesthetic. These are volumes that in a certain way refer to archaic forms, and are imposed with the powerful presence of ancient idols. Dark columns whose capitals have become a hieratic florescence, artistic creations that raise analogies with the mechanized world that surrounds oil exploitation; matter painstakingly researched by the artist and which is at the basis of her work in her last years. This series of sculptures also includes a set of smaller pieces, less prominent but equally present due to the forcefulness of the form. Some of them are integrated from geometric elements supported by tubular. In other cases they are circular shapes, designed to be placed directly on the floor; These make up a kind of utilitarian components, “tools” that Delmoral reworks through plastic work, a sensitive, emotional and visual act, at the same time, that dismantles the

In the Surcos de Oro Negro series the presence of the vertical element gives way, this reference to the masculine is appeased to give way to the fluidity of the curved lines, to the organicity of the wood reliefs, in which the dark density of oil, As a material incorporated into the work, it accentuates the passivity of the horizontal; reference to the earth, to the seed that germinates, to the power of the feminine. It is the visual story of a primitive and inhospitable world, prior to the presence of human beings and that has ceased to be. From that remote and unknown world, conceptually and formally rescued through creative reflection, the grooves created by Nidia Delmoral persist as archaeological remains.

Now the artist has begun a stage that seems inevitable in the trajectory of creators when they have completed an important period of her work: the search for synthesis based on changes, transformations. Transit that in the case of Nidia Delmoral is shown to us as a journey without conflicts, rather calm and serene, but always attentive to the references of the environment. Thus, as in an act of unveiling, his work strips away intense expressiveness to give way to the versatility of the geometric, to the constructive order, to the essential forms: they are the Steles, which constitute a kind of compendium of his language. These rise upwards in a similar way to the Augers, but their ascent is of a different nature, it is marked by regularity and order, without completely detaching itself from the impulsiveness that animated the previous achievements, now taking refuge in an area checked. From there, tempered and purified, it models its renewed presence that manifests itself in the balance of the components and the contrast between tones and surfaces, between angles and directions, in linearity, in the imprint of visual rationality.

The series of her Steles is made up of slender and peaceful forms, but also of intense presence. In them the cuts on the material persist, transmuted into a kind of writing that opens grooves in the wood with an eloquent expressiveness, they are lines of different thickness and depth creating directions, sequences. Patterns that model the surface and regulate the light, from which emerge the tones, the chiaroscuros and, as a consequence, the appreciation of the form.

Nidia Delmoral's sculptures are animated artistic objects despite their staticity, they proclaim a need to create and a will to make that impulse a visible reality that makes them dynamic, vital, stimulating sensitivity and interest in art forms.

(FREDDY CARREÑO, November 2007)