Trinidad Bezanilla was born in April 26, 1982 in Santiago de Chile, in the bosom of a Chilean family that always instilled and supported her decision of becoming an artist. At a very young age she began her art education: in 5th grade she took her first painting lessons and since then, she never stop her research to improve her technique, besides cultivating her theoretical knowledge about history of art, emphasizing the neoclassic and cursed artists. All of that carried her to study the Plastic Arts Major in the Finis Terrae University, and after that, a master in Cultural Management in the Universidad de Chile.
Her works have been in different stages, different kind of formats and subject, but without a doubt color, movement, and rhythm are elements that remain no matter how they are addressed. This way, the artworks that highlight the most are her dancers that mean for the artist, the return to the human figure after having been through more abstract subjects where color and rhythm come first.
Dancing is not only subject of her artworks, but is also a discipline that inspires and that she practices, something that she decided to put on the canvas in a wide variety of formats: freeze the movement, the appropriate moment of a position that not only portraits the disciplined aesthetic of the artist, but also achieves to captures the rhythm, the space where she moves, and the expressions the pose expresses. To practice the discipline have been an important exercise because it has allowed to understand technical aspects about postures, forms, and body supports to be more fluent in her work.
The artist describes her artwork as a reflection about her frustrations, but also as a way to understand the communicative power of human body; it’s an analysis to the need of perfection in the human body and the search of beauty. That speaks about a dissident society. “It’s an honest work,” says Trinidad, by the meaning that it has for her as a person as much as for what tell to the observer.
Format’s versatility is also part of this analysis the artist does because, according the painting’s requirements, she bets for the best materials to create her artworks. Her flexibility regarding the materiality has to do with the meaning she wants to give to her creations; this way, she can accurately express the subject she is researching of executing in this exact moment.
The Trinidad’s first individual exhibition was shown during 2010 and since then, she has been being present in the artistic field. Trinidad comments that to exhibit herself is something difficult due to what exhibit implies not just her artwork, but also herself. However, she would love to do it frequently, because these experiences are something positive for her, where critics as much as compliments have helped to improve her technique and the subjects she covers.
About that, the artist comments that she feels that the spaces to exhibit, especially those for emergent artists, are not many and not varied which many times impedes the creation of continuous exhibitions. She sometimes feels the artistic scene is too closer and a little bit ungrateful. However, there’re some places, for example, the spaces where the artist has could create, that have mean a great contribution for her.
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