From the point to creation
Ana Steinekker starts with a solid concept: a point as the start of every piece, and she expands, develops, and investigates it in her own artistic creation that, currently, is focused on the feminine world and its peculiarities.
na is an architect who specializes in form and communication, as well as an artist. Over the years she has studied and taken courses exploring diverse drawing, painting and sculpting techniques and has worked with metals and unconventional materials such as paper, candy and wood. The influence of her profession has enriched her artistic field thus granting her a comprehensive approach and a transversal gaze regarding spaces and objects. For her, creation is the daily action of her life. It is a way of being in the world. She was born with it and constantly tests this by posing challenges that adhere to the artistic vitality that her work exhibits.
Looking into what is feminine
In the series Cabezas Locas, she makes a thorough analysis of the thoughts, hindrances, questions, dichotomies present in women. She develops the complexities of the feminine world by traversing common places emanating from the subconscious; or that simultaneously provoke the most instinctive part of the viewer, thus generating identification and fascination with the images. Although the title of the series refers to the eccentric, obsessive, neurotic aspects of structures that are behind each thought so that her work advances in time, it’s shifting towards a certain rearranging of the posed madness and suggests a final stage called Acomodando Cajones.
In this sense, although Cabezas locas summons all women, the impetus is granted due to her own images, her own self-observation of the world. She exposes, as the tip of the iceberg, surfaces that transform into childhood nightmares, human relationships, trips, desires, her own frustrations and toxic relationships. Later, further into the series as it matures, it ends in the previously mentioned Acomodando Cajones stage, where each drawer identifies situations and her myriad of subject matter. It is here, where she abandons figuration and focuses on geometric figures.
Her goal as an artist has been, and is today, to make an impact on the viewer. Forming a bond that is expressed in mutual interest, a profound reflection and observation prolonged over time. She doesn’t seek sensationalism or immediate impact, but rather the contemplation and interpretation itself of each subjectivity put into play. Ana thinks of art as a form of mental healing like a universal language that can unite all types of borders.
Impassioned by geometry, she considers the point as the start of all pieces, of every production. She starts with a point in order to think about line (straight or curved), planes of architecture that she usually works with, musical scores and writing in their complexity. In this sense, she considers the sum of points as the infinite repetition matrix that can form things, perceptions, spaces, geometry, and planes, among other things.
In this symphony, Kandinksy already stated that the geometric point is invisible. In writings, it is the sole essential bridge between words and silence. That is to say, the symbol of interruption and that which doesn’t exist. However, in painting the invisible geometric point becomes material here and takes on a certain size that requires a determined surface. If the point is idle, then the line as a mobile internal tension will be what splits the movement of that point on the plane. In Kandinsky’s words: “Both elements = = (will equally have) crossings, combinations that make up their own language that is noncommunicable with words.”
The productive process of Ana Steinekker’s work starts with internal images that are represented in initial sketches. Later, the artist starts to paint in acrylic and creates glazes until achieving the projected effect. In the end, she incorporates white lines that form geometric or figurative drawings.
Her vast work has travelled to different countries and has been exhibited in numerous fairs and national and international expositions. She has participated in New York, with the artist Anna Rank, under the framework of Paraguas por la Paz project, where more than forty artists participated. Likewise, one of her works was selected to be turned into the image of a dress for Art on fashion, and she participated in the Affordable fair in Mexico, among other experiences.
Steinekker’s work is profound and complex but is represented from
the simplicity of a line, and arises from a point, a core idea, or a seed that in its own maturation has allowed to take roots; It is born of work that although it’s living its contemporaneity, it will remain, without a doubt, throughout time.