As part of my get-life-back-on-track measures, during the last week of November I'll be participating in another workshop at the Culture Center of Spain in Tegucigalpa. I'm not saying they've replied my application, I'm saying I'll unglamorously break in if I have to. Yet again creepiness is relative once you take in account such things as the twitter page and sculptures from Jessica Stam's Canadian stalker. I hope. At the risk of getting me a restriction order, I'll confess I've long admired both the art and personality of Honduran-based graphic artist Ana Granera, native from Nicaragua.
Ana Granera illustrations (left and right), Hussein Chalayan Fall 2003 (middle)
source: anagranera.com, Style.com
Flying air-filled items are a recurrent theme, it seems. Before I start pondering about whether I should rename this "Balloons: An Ongoing Series", I must add that her illustrations draw from several very distinctive subjects, including owls, dogs, stairs and cages. Lots of cages, which I can't help relating to that Valentino couture 2010 dress
I'm utterly won by her unapologetic simplistic style that leaves all traces of empty impressionism behind. Plus there's something a bit subversive about the content, like a Tim Burton-esque mix of doom and fragile prettiness. Whatever it is, it makes her my favorite local graphic artist, along with her friend Wilmer Murillo (they performed an intervention together at the Culture Center that's why I know they're friends ok givemmeabreak) and the workshop she'll be leading is an exciting reason for me to step outside. Outside my house and into the city, that is. Ok that came out creepy... brb working on my Ana Granera sculpture.
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