Author: Gonzalo Leiva Q.
Horizontes y Abismos covers the main works of Virginia Huneeus, from her first steps in the world of art, to her artistic evolution undergone through the years. The book is divided into two parts: in Horizontes, she deepens the construction of great murals with geometric figures like diamonds, rhombuses, spirals and circular forms. Virginia plays with shapes, with their colour and symmetrical structures. In her murals she uses all kinds of materials: acrylic, ceramics, steel, and develops mixed techniques of glazing and silk-screen printing.
Later, with the passing of the years, her classic mural art undergoes transformations in which she includes small people. In that point in her life she includes something that would be part – in Huneeus’s artistic growth – of a more symbolic, magical and somewhat obscure art. The artist includes, in the middle of the book, a performance of 3-metre three-dimensional figures that fly over the city of Boston.
In the second half of the book, Abismos, Virginia proposes an analogy which references Dante’s Inferno and its murals, in which she submits those trying to leave and fight their shadows to darkness and despair. Furthermore, Huneeus perfects her art and establishes herself as an artist with her performances and shamanic installations, infernal and magical in large monoliths – two and a half metres tall – made with cement, wood and quartz.
In the words of Roger Caillois, art critic and French writer, Virginia expresses that “myths and rituals – in her works – offer a language of belief and collective gestures. When these collapse, today’s artist suffers. Facing the abyss, Virginia creates a personal pandemonium. A coherent totality of remarkable monsters, unusual and frightening images that seduce with a kind of magic: that of art”.