Sift

Anamaría Briede Westermeyer’s works of are human journeys of touch, poetic flight and flows of the unconscious as laborious and concrete as designing a house on paper or looking for the fault of an engine without manuals. They arise from touching, letting oneself be carried away by the eye and the hand, tracing, demarcating, pointing out, glossing, diagramming, discarding, displacing, superimposing, veiling and emphasizing forms, letters, words and movements with free thoughts, never mechanical, even if they are done, for example, with typing or photocopy machines.

Briede’s works arise from a unique, magical or masterful relationship between the voice, the hand and the artwork. Her fingers simultaneously paint, draw, copy, superimpose, displace and write. They do so in a rigorous and neat manner, always with various possible visual and poetic approaches, but crossed by sensorial qualities, and often functioning as activation, sometimes ephemeral, of precarious, light, unforeseen formats, unimaginable in a logic of spectacle or immediate consumption.