Promo-arte Latin American Art gallery
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" Decorative Art Exhibition 2010 "

February 18th(Thu.) to March 30th(Sun.), 2010
11:00 - 19:00 (Closed on Mondays)

Place: GALERIA-Arts Space B (1F)
Organized by: GALERIA BP
Coordinated by: PROMO-ARTE Gallery

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Exhibition Hall

Exhibition Hall

Horacio Carrena "Estrella en formacion"


Horacio Carrena "Las Puertas del sol "

Horacio Carrena "4 Vasijas enterrada"

Horacio Carrena "Reflejos Amarillos sobre Campos Verdes"


Exhibition Hall


Graham Bennett"Squaring the circle"



Carmen Carreno (Ecuador)

Born in Santiago de Chile, 1959
Live in Quito from 1972
1979-81 Carlos Maldonado Studio 77.
1983-85 Carmen Silva Studio 1632.
1986 Marcelo Vasconez Studio, drawing.
1987 Carlos Rosero Studio, print.
1988-90 Nicolas Svistoonof Studio, painting
1990 Marcelo Aguirre Studio, drawing

Horacio Carrena(Argentine)

Born in Buenos Aires of Argentina in 1955. Received the professor of institute of National University of Art in 1978. Started activities as artist in 1979. Principal history for International competition : The 3rd Carribean and Latin American International Art biennial exhibition(2007), The prize of the 3rd Contemporary Art of Antonio Guarda(2006)


Graham Bennett (New Zealand)

1947 Born Nelson, New Zealand
1970 Graduated University of Canterbury School of Fine Arts
1971 Graduated Christchurch College of Education, Dip Tchg Practicing Artist - current
1972 - 1976 Secondary Teaching
1977 - 1980 Travel
1981 - 2000 Tertiary teaching, CPIT
2000 > full time art practice

My work is a convoluted journey of tangents and overlays, providing opportunities to trigger questions for myself and others about who, where and when we are or perhaps to challenge what balance means in our life, actions and relationships with the earth and with others.

In her essay gA Voyage of Discovery. The Sculpture of Graham Bennetth Dr Robin Woodward writes:
The sculpture of Graham Bennett is based firmly in the patterns and place of Aotearoa New Zealand | but it has a universality that resonates internationally and cross culturally. Such singularity builds on a life experience that is both extensive and inclusive. It derives from a knowledge of history and humankind, an emotive bond between identity and place and an enquiring mind that is alert to questions of connection. Painstaking examination of detail and an awareness of the broader framework, coupled with an eye that is tuned to pattern and shape, is the essence of Graham Bennettfs work.
On an intellectual level Bennettfs work investigates identity and locality, culturally and geographically. The essence of this lies in his homeland Aotearoa New Zealand as an isolated land mass, an island at ethe end of the worldf peopled by immigrants. Thus in the crescent shaped form of the segment of the globe that Bennett identifies with New Zealand lies the shaped hull of the brigantine that brought his ancestors to New Zealand. But it is not just that vessel that he is referencing; it is the canoe, the waka, the navigational satellite dish, the eel trap, the food basket of the Maori and the lines of latitude and longitude that intersect at Aotearoa New Zealand.
Although grounded in a specific locality Graham Bennettfs work speaks to a global audience. Such universal engagement reflects the international progenitors of his work. Formally Bennettfs work combines the two predominant pathways in 20th century sculpture, the school of Brancusi and that of the Constructivists.
Out of the school of Brancusi came the work of Japanese American sculptor Isamu Noguchi. Of a similar ilk is the oeuvre of New Zealander Graham Bennett. There is a common concern with surface finish, meticulous attention to detail, the assimilation of the base into the creative work, issues of balance, repetition and delicacy through line and mass. Add the Constructivist principles of time, space and motion and an inventorfs curiosity about the materials and techniques of the modern industrial age. These are the creative tools through which Graham Bennett charts his intellectual exploration of identity and history, his personal journey. Through that, we chart our own.
Graham Bennett is constantly asking questions in his work. These can be posed through form or content or can be stated directly in the title; titles are always of significance. In his titles the artist employs a language people are familiar with to elaborate on a language they are less familiar with, sculptural form. Titles can give an entreLe to a work or they can initiate exploration of ideas beyond the viewerfs initial response.
On a more personal note Bennettfs work evolves from his earliest exploration of identity when, from the other side of the world, he first perceived his homeland as distinct but contiguous in a global network, and started making connections | culturally, intellectually and creatively - connections that have continued to inform his work over three decades. T. S. Eliot in The Four Quartets encapsulates the philosophy and form of Graham Bennettfs art practice; gin my end is my beginning c in my beginning is my endh.


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