"I am inspired to create abstract sculptures that form a delicate intimacy between the piece and the viewer, where the immaterial emptiness transmits, completing each sculpture.
This balance of both the seen and unseen is fundamental to my work as the dualities and rhythms of the natural world inspire my practice. Like Brancusi, my work uses minimal and organic lines which subtly play with texture, color and the ever-changing reflections caused by light. I purposely want the work to feel like a physical expression of calligraphy, a message of pureness and enlightened aestheticism through a minimal objectual presence. This interaction is meant to create a space of personal reflection and tranquility ultimately leading to a new awareness of the self and the natural world."
Veronica Mar is an artist and creative director from Granada, Spain. Having earned a BA in Fine Arts at the University of Barcelona in 2005 and a BA in Interior Design at Eina School in 2004, Mar has been exhibiting her designs since 2007 in notables design galleries such as Rossana Orlandi (Milan), Les Ateliers Courbet (NY & Miami), Mint (London), and The Wolfsonian Museum in Miami.
Mar has won awards for her creations, the S-Sculpture bench (2011) and the Autumn Leaf swing (2012). She has been creating for brands like Porcelanosa, Cosentino, Tribú, LAB23, Groël and more.
Since 2014, Mar has shown her sculptures at art fairs and galleries in London, Miami, Shanghai, Barcelona, Madrid, and Marbella. Her work is included in numerous private and corporate collections worldwide.
Verónica Mar lives and works in Madrid, Spain.
ARTIST STATEMENT My research aims to find a balance between volume, shape and space underlining emptiness instead of mass. Inspired by Brancusi, I too continually seek the essence of life through organic lines and forms. These organic shapes draw the air like an ethereal calligraphy by subtly playing with texture, color and the ever-changing reflections caused by the light. The combination of both classical and avant-garde materials, like steel, brass, aluminum and Krion (acrylic stone) and carbon fiber allow me to articulate inside and outside spaces with different levels of intimacy. My sculptures are like a spiral: they move upwards suggesting both physical and mental growth and ideas of pureness and asceticism through a minimal objectual presence. And in this sense, the interaction with the viewer is important as they become part of the sculpture and engage in a challenging introspective dialogue in which they can recognize Themselves. I have always felt attracted by the monumentality of Anish Kappor, the essentialism of Donald Judd and the atmospheric installations of James Turrell. They all served as inspiration to articulate a dialectics of eternal and ephemeral, empty and full, light and darkness. I feel that my artwork is a thought-provoking metaphor of the individual and our quest for freedom, emancipation and self-fulfillment.