"NGV Triennal"
Analia Saban
Tanya Bonakdar Gallery
521 West 21st Street New York, NY 10011
Tel. +1 212 414 4144 e-mail:
National Gallery of Victoria
180 St Kilda Road, MelbourneTel. +61 (0)3 8620 2222 9am–5pm, daily e-mail:
December 15, 2017 > April 15, 2018
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 Analia Saban, Draped Marble (Fior di Pesco Carnico, Fior di Pesco Apuano, Crema Dorlion, Onyx), marble mounted on steel on wooden sawhorse, 2015 Collection of National Gallery of Victoria, Melbourne, Purchased NGV Foundation, 2017 |
Analia Saban
Argentina born 1980, works in United States c. 1999–
Analia Saban uses stone as ‘fabric’ in her seemingly magical work Draped marble (Fior di Pesco Carnico, Fior di Pesco Apuano, Crema Dorlion, Onyx), 2015, playing with viewers’ perception and expectations in order to blur the boundaries between painting and sculpture. Abstract patterns in the crystalline mineral structures of Saban’s broken marble ‘canvases’ recall vast and cavernous landscapes. Central to the artist’s investigation is the poetic connection she draws between minerals and pigments. The once-fluid particles that make up stone suggest its potential to be milled back into pigment for paint
BIO
Saban was born in Buenos Aires and is currently based in Los Angeles and New York. She participated in Made in L.A. in 2012 at the Hammer Museum, Los Angeles, and Prospect. 3 New Orleans at the Contemporary Arts Center, New Orleans, in 2014. Saban held a solo exhibition at the Blaffer Art Museum, Houston in 2016 and has participated in group exhibitions, including at the Los Angeles County Museum of Art in 2016 and the National Museum of Norway, Oslo, in 2014. She was Research Institute Artist in Residency at the Getty Museum, Los Angeles, in 2015–16.
Supported by the NGV Foundation.
Argentina born 1980, works in United States c. 1999–
Analia Saban uses stone as ‘fabric’ in her seemingly magical work Draped marble (Fior di Pesco Carnico, Fior di Pesco Apuano, Crema Dorlion, Onyx), 2015, playing with viewers’ perception and expectations in order to blur the boundaries between painting and sculpture. Abstract patterns in the crystalline mineral structures of Saban’s broken marble ‘canvases’ recall vast and cavernous landscapes. Central to the artist’s investigation is the poetic connection she draws between minerals and pigments. The once-fluid particles that make up stone suggest its potential to be milled back into pigment for paint
BIO
Saban was born in Buenos Aires and is currently based in Los Angeles and New York. She participated in Made in L.A. in 2012 at the Hammer Museum, Los Angeles, and Prospect. 3 New Orleans at the Contemporary Arts Center, New Orleans, in 2014. Saban held a solo exhibition at the Blaffer Art Museum, Houston in 2016 and has participated in group exhibitions, including at the Los Angeles County Museum of Art in 2016 and the National Museum of Norway, Oslo, in 2014. She was Research Institute Artist in Residency at the Getty Museum, Los Angeles, in 2015–16.
Supported by the NGV Foundation.
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