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Nelly Perazzo

Member of Number of Academia Nacional de Bellas Artes


It’s very interesting that Mónica Canzio has done from the prehistoric Venus of Lespugue –fatty goddess and balanced summary of shapes– the focus of her exhibition. She has approached it as a theme with variations.


As she is such a good sculptress, she had preferred a figure as tactile as this Venus. The visual suggests the tactile so strongly.

She has transposed the image of the prehistoric figure as an exercise where each technique, each material has given the possibility of different solutions.

Empty, full, by accumulation, by intersecting ribbons determining her,

With colours or not, with the surface variation, Mónica Canzio has provided her a reliable feast around the Venus Auriñaciense.

Archaeologists say that the first cultivated arts about the prehistoric man was the sculpture.

That passion of “shapping” is incarnated again in our artist.

If in those inaugural makers their work was linked to the myths of fecundity, our free artist from the XXI Century allows the quote and plays with memory and penetrates it in many ways.

What questions could accompany this exhibition?

Why did she propose that jump in time?

Which materials you think allows her get closer to what she wanted?

And so on, the public can put forward their own reflections.

Congratulations, dear Mónica!


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