Esperanza Cortés
ESPERANZA CORTÉS
Suspended Thoughts, 1999-2010
frescoes, beaded clay sculpture, glass beads, chains clay, wood, glass
13h x 3.50w in
ESPERANZA CORTÉS
The Disremembered II, 2020
clay, chains
40h x 8w x 4d in
The Mineras series brings recognition to the women miners in Colombia, many of whom say that they have been mining since they were in their mother's belly. The majority of the artisanal miners are of Afro-Indigenous background. These families have been mining for hundreds of years without damaging the land or the environment where they live. Recently, the Colombian government has been selling the land rights to foreign industrial mining companies, which will damage and pollute the eco-system affecting all forms of life while, at the same time, wiping away the history and way of life of these artisanal miners. Colombia has the second-highest displacement and resettlement rate with over 5,700,000 people forced from their homes. This revamped form of colonization continues to contribute to the displacement and disruption of people, culture, environments, and history.
ESPERANZA CORTÉS
Purple Heart, 2020
clay, chains
8h x 6w x 7d in
Latino Americans have always conducted themselves well in the U.S. military – from its earliest beginnings in 1863 to present-day conflicts. Latinos constitute the ethnic group that has received the most U.S. Medals of Honor, which is the nation’s highest award for valor on the field of battle.
Sixty men of Latino heritage have been awarded the Medal of Honor. Of the sixty Medals of Honor presented to Latinos, two were presented to members of the United States Navy, thirteen to members of the United States Marine Corps and forty-six to members of the United States Army. Forty-two Medals of Honor were presented posthumously. Latinos are also represented as recipients of the silver heart, the purple heart, and numerous military honors.
Spanish-speaking and Spanish-surnamed military men portray a shared cultural heritage that places a high value on military service and on battlefield courage. The first "Latinos" to fight for American war aims were not ethnic minorities within the US, but colonial subjects of Spain.
ESPERANZA CORTÉS
Corazón Plateado/ Silver Heart, 2012
glass beads on clay sculpture, chain
4h x 8w x 8d in
ESPERANZA CORTÉS
La Dorada, 2017
clay, brass beads
60h x 18w x 12d in
The Mineras series brings recognition to the women miners in Colombia, many of whom say that they have been mining since they were in their mother's belly. The majority of the artisanal miners are of Afro-Indigenous background. These families have been mining for hundreds of years without damaging the land or the environment where they live. Recently, the Colombian government has been selling the land rights to foreign industrial mining companies, which will damage and pollute the eco-system affecting all forms of life while, at the same time, wiping away the history and way of life of these artisanal miners. Colombia has the second-highest displacement and resettlement rate with over 5,700,000 people forced from their homes. This revamped form of colonization continues to contribute to the displacement and disruption of people, culture, environments, and history.
ESPERANZA CORTÉS
Tunisia, 2016
clay sculpture, violin tailpiece, leather, embroidery, glass beads, bells
48h x 20w x 4d in
ESPERANZA CORTÉS
Arrested Symphony, 2017
clay, chains, semi-precious stones, encaustic and oil on panel
72h x 36w in
ESPERANZA CORTÉS
Silver Heart, 2015
clay, chains, oil on panel
36h x 24w in
ESPERANZA CORTÉS
La Minera, 2016
clay, chains
38h x 8w x 4d in
ESPERANZA CORTÉS
Caged Rage, 2013
glass beads on clay sculpture, wood
10h x 5w x 5d in
ESPERANZA CORTÉS
I.D. Bracelet, 2013
frescoes, amulets, glass beads, metal, chain
10h x 60w in
ESPERANZA CORTÉS
Puño Azul/ Blue Fist, 2014
glass beads and crystals on clay sculpture
10h x 5w x 5d in
ESPERANZA CORTÉS
The Harvest, 2016
ink, bead, handmade paper
12h x 10w in
ESPERANZA CORTÉS
The Giving Hand, 2016
ink, bead, handmade paper
12h x 10w in
ESPERANZA CORTÉS
The Gift, 2016
ink, bead, handmade paper
12h x 10w in
ESPERANZA CORTÉS
The Gift II, 2015
ink, bead, handmade paper
12h x 8w in
ESPERANZA CORTÉS
Corazón, 2013
ink, bead, handmade paper
12h x 8w in
ESPERANZA CORTÉS
La Calavera, 2012
ink, bead, handmade paper
12h x 8w in
PRESS RELEASE
20 November 2019 (New Orleans, LA) JONATHAN FERRARA GALLERY is proud to announce, Arrested Symphony, the premiere solo exhibition of Colombian born, NYC-based, multidisciplinary artist Esperanza Cortés. In this exhibition, the artist explores the theme of injustice by highlighting the corrupt and exploitative practices of global mining industries and illuminating how such practices lead to devastating social conflict. Esperanza draws inspiration from observed parallels in such industrious cultures both in the States and her birth-country; her work pays homage to the immeasurable human cost of such practices. The exhibition will be on view from 18 December 2019 through 14 February 2020 with an opening reception coinciding with the Arts District of New Orleans’ (ADNO) First Saturday Gallery Openings on Saturday, 4 January from 6-9 pm. A second reception will be held from 6-9 pm on 1 February 2020.
The artist discusses the poignant message behind Arrested Symphony…
Arrested Symphony is an exhibition incorporating sculptures, reliefs, drawings and hanging works that explore the theme of injustice that is at the roots of the predatory gem and mineral excavation industry. While at a residency in Knoxville, Tennessee, I discovered that Oakridge was only 30 miles away. Oakridge played a key role in the development of the Atom Bomb and the Manhattan Project. I began an exploration and comparison of Uranium and Emeralds. These minerals look very much alike, beautiful but dangerous on their effect on civil conflict. Colombia my birthplace, has the finest Emeralds in the world. The mining of Emeralds was an important element in the continued colonization of the region. Emeralds have helped to fund the more than 60-year conflict which has taken over 450,000 lives and displaced about 5.7 million people. Uranium has brought destruction to a level which altered the future of warfare. The developments made during the Manhattan Project led to the death of about 700,000 people and its effects are still felt around the world. I use Colombia as an example, however this situation is repeating itself in many parts of the world. Sierra Leone, Liberia, the Republic of Congo, the Central African Republic and the Democratic Republic of Congo are all involved in brutal civil conflicts fueled by Blood Diamonds. This project will make visual the human cost extracted with these minerals, once exposed to the light of day they can never be unearthed.
My practice is an ongoing object-based exploration through which I create artworks which are organic and improvisational constructions that are infused with hope and renewal. The hand-crafted artworks are poetically and intricately crafted, creating an intimate repository for the individual and collective memory and implement the human body as a symbol and expression of nature, vulnerability and power. The work encourages viewers to reconsider social and historical narratives especially when dealing with the aftermath of Colonialism and raises critical questions about the politics of erasure and exclusion.
ESPERANZA CORTÉS is a Colombian born contemporary multidisciplinary artist based in New York City. Cortés has exhibited in the United States in solo and group exhibitions in venues including Smack Mellon Gallery, Neuberger Museum of Art, Bronx Museum of Art, Queens Museum, El Museo Del Barrio, MoMA PS1, Socrates Sculpture Park and White-box Gallery in New York City. Nationally Cortes exhibitions include Cleveland Art Museum, OH, CSU Galleries at Cleveland University, OH, Helen Day Art Center, VT and The Lorenzo Homar Gallery, PA. Internationally, she has exhibited in Germany, Hungary, Slovakia, Poland, Japan, Mexico, Colombia, Dominican Republic, Spain and Greece.
Cortés is a recipient of awards including: The John Simon Guggenheim Memorial Fellowship, BRIC Media Arts Fellowship, Lower Manhattan Cultural Council Creative Engagement Grant, Joan Mitchell Foundation Painters & Sculptors Grant, U.S. DEPARTMENT OF STATE, Art in Embassies Program, Puffin Foundation Project Grant, Bronx Museum of the Art’s AIM Program, New York State Biennial, Robert Rauschenberg Foundation Change Grant, New York Foundation for the Arts, Sustained Achievement in the Visual Arts Award.
Cortés’s has also held the following residencies: McColl Center for Arts + Innovation, Museum of Arts and Design Artist Studio Residency, BRIC Workspace Program, The Caldera Residency, Joan Mitchell Center, Webb School of Knoxville, Sculpture Space, Fountainhead Residency, MoMA PS1 International Residency Program, Socrates Sculpture Park, Abrons Art Center, Longwood Art Project. Esperanza’s international residencies include Altos de Chavon, Dominican Republic, Can Serrat, Spain, and Bielska BWA Gallery, Poland.
Esperanza’s work has been reviewed by Artnet, HYPERALLERGIC, BELatina, Whitehot, Artforum, Artnews, New York Times, New Art Examiner, Art in America and Art Nexus. Esperanza has been the subject of interviews and programs on public television and radio, Newspapers, Art blogs, and publications in the USA, Europe, South America, and the Caribbean.
Esperanza has designed workshops and taught extensively as a museum educator, artist in residence and community artist, creating murals, sculptures, site-specific installations and visual arts projects through The Lower Manhattan Cultural Council, Artist Space, Brooklyn’s Children's Museum, Socrates Sculpture Park, El Museo Del Barrio, Museum of Modern Art, Whitney Museum of Art and the Museum of Art and Design. Cortés’s work is in private and public collections including the American Embassy in Monterey, Mexico.
For more information, press or sales inquiries please contact Gallery Director Matthew Weldon Showman at 504.343.6827 or matthew@jonathanferraragallery.com. Please join the conversation with JFG on Facebook (@JonathanFerraraGallery), Twitter (@JFerraraGallery), and Instagram (@JonathanFerraraGallery) via the hashtags: #EsperanzaCortes, #JonathanFerraraGallery and #ArtsDistrictNewOrleans.
OPENING NIGHT. The downtown arts district kicked off 2020 with a round of openings, inviting art-lovers for social mingling and visual refreshment.