San Juan, PR, 1956
Jump to navigation
San Juan, PR, 1956
Multimedia artist, painter, draftswoman, video artist and art professor. Studied at Pratt Institute. Her education during the 70’s led Aponte to profound questionings about social systems, state institutions, civil rights and social justice. Her work nurtures from this trajectory, developing into a work of observation and social criticism mixed with a great sense of humor. Also, the conceptual approaches of the 1960’s, rooted in the Dadaism from the turn of the century, have been the major influences in her work.
Ines Aponte’s artistic expression covers a variety of media such as drawing, painting, mixed media, installations and video. In 1991 it made a turn towards formal deconstruction. Everyday life supplied the materials: gift-wrapping paper, "glitter", varied fabrics, folding tables, napkin holders, etc., materials that appeal not only to the visual, but instead summon all the senses. The significant is the building principle underlying the sequence of these manipulations. The evocation they generate moves her to pick up again the construction methods and expressions from childhood. In that way, she cuts, pastes, creases, overlaps fragments of materials, images, altered words; clearly disparate elements that in their proximity and rejection establish an "operational violence" that generates new images. Herein she plays with the extremes and malice that all games entail. In the works shown since 2000 these games are set against elements representative of the Systems of Power and vice versa: the Systems of Power have been subverted and intervened by the game. (Exposición Marcados de 2001, Sobremesa de Gatos, Lobos y Ratones de 2005 y Cortadas por la Misma Tijera de 2011).
The guidelines for the work originate from particular aesthetic sources such as the Oriental images of HakuinEkaku and knowledge that modernity has downplayed such as: vaudeville, the circus, Thomas Edison’s cinema and the music of Georges Ivanovitch Gurdjieff. Other fundamental influences are the Dadaist manifesto and the work of the constructivists, especially the designs of Alexander Rodchenko.
Aponte’s artistic career sets a counterpoint (contrast) between the gaiety of a child and the rigorous ordering of institutional life, between the burdensome and lightness, between the sacred and the profane, the minimalist and the carnivalesque, between the tragic and the comic.
Drawing and printmaking courses. Boston’s Museum of Fine Arts School, Boston, Massachusetts, United States
Drawings and paintings, Pratt Institute Gallery , New York, United States
Caribbean Art Today, Stoffwechsel, Alemania, 1994
Espectáculo y sacrificio, Zeitgeist Gallery, San Juan, Puerto Rico, 1991
Puerto Rico’02 [En ruta], M & M proyectos, San Juan, Puerto Rico, 2002
Registro de Marcas, Museo de Las Américas, San Juan, Puerto Rico, 2001
U/TOpistas: estudio para proyectos contemporáneos, Michelle Marxuach Galería, M & M art projects, 1998
Roldán Soto, Camile. “Inés Aponte: del claustro de la Escuela de Artes Plásticas a la beca Pollock-Krasner”. El Nuevo Día (San Juan, PR), 4 de septiembre de 2017
Vazquez Zapata, Larissa. "Ines Aponte and an antidote to amnesia". El Nuevo Día, Revista Domingo (San Juan, PR), May 6, 2001
“Inés Aponte: Buscando el trazo de la consciencia” Entrevista por Ernesto Pujol. http://inesaponte.com/ernesto-pujol/
Goode, Greg. “Inés Aponte y el Camino Directo”. http://inesaponte.com/greg-goode/
Torres Arzola, Raquel. “Consciencia del Contacto”. http://inesaponte.com/torres-arzola/
90grados.com. “La artista Inés Aponte recibe beca de la Fundación Pollock – Krasner”. http://90grados.com/arte/la-artista-ines-aponte-recibe-beca-de-la-fundacion-pollock-krasner/