My work was included in Dispatch: Puerto Rico (survey)
written by Guggenheim's curator Pablo Leon de la Barra
Friday, October 17, 2014
curated by Ryan Travis
GREENPOINT TERMINAL GALLERY
Posted by Edra Soto at 9:14 AM
Thursday, October 16, 2014
On the news:
Posted by Edra Soto at 4:50 PM
collaborating with The Wedding Cake Project
Posted by Edra Soto at 4:46 PM
Tuesday, March 04, 2014
Posted by Edra Soto at 4:16 PM
The Seerveld Gallery presents:
Excess of Joy: an exhibition of new work by Edra Soto
Exhibition dates: February 27 – March 26, 2014
Opening reception: February 27, 6-8pm (artist talk at 6pm)
The work of Edra Soto strives to form a parallel between the basic materials that the artist uses and her Caribbean, African, Spanish and Anglo-American influences and heritage. Her work tends to draw upon childhood memories and her religious upbringing. Soto aims to create a space of reflection by bringing together a rich environment of images and shapes that were made in a simple and basic manner.
Along these lines, Excess of Joy depicts portraits as masks, influenced by African and Caribbean imagery. Culturally omnipresent, masks possess the qualities of being protective archetypal devices for either a living organism or a myth. Soto amplifies her moral and emotional concerns by confectioning an image that is made with simple materials: gouache, graphite and paper, and influenced by the symmetrical architecture predominant in ecclesiastic art that the artist frequented during her formative years.
Excess of Joy brings together Soto’s latest drawings and a sound piece: respectively, dual comedy portraits, followed by the sound of Soto’s laughter coming from a record player. Produced in an edition of 250, the artist invites the audience to play the 7” record from a turntable while viewing the exhibition.
Posted by Edra Soto at 3:03 PM
Thursday, October 03, 2013
Friday, August 09, 2013
The Center Program
Hyde Park Art Center, Chicago
The first iteration of Edra Soto’s Graft, a wood screen reminiscent of a wrought iron gate was installed at Terrain, a residential exhibition space in Oak Park. Much like the theatrical device of a scrim, Graft functioned as a wrought iron metal screen where it created a breathable barrier between these two exterior zones.
Wrought iron, an easily malleable steel alloy is a common material that was utilized to make many early structures and bridges especially in 19th Century Chicago. In terms of both structure and aesthetics, the patterns created at this time with this alloy were the result of an important dialogue between the dominant schools of the Beaux Art and the Polytechnique, which helped to mold the re-emergent city of Chicago. Louis Sullivan and Frank Lloyd Wright evolved these geometries within stained glass and screens, by abstracting nature and referencing the horizontality of the landscape. Wright also created screens within the interior space that were often made out of wood borne out of his deep devotion for Japanese design.
In Graft II, Edra Soto continues to reference this visual dialogue of interlocking geometries by infusing them with the flavor that only a rich storyteller can offer. The patterns here are playful and infuse the interior space with her own unique personal style. Born in Puerto Rico, Edra Soto’s patterns are imbedded with a steeped tradition of iron porch screen fences with layered levels of engagement. This screened-in space functions as both a protective element as well as a logical outgrowth of window screening. This ambiguous dialogue becomes new curb appeal for Edra’s Graft (II), which is also evidence of the rich collective nature of Soto’s work as she actively stirs up dialogue within her community. Architecture at its most ideal state is made for the public and works to break boundaries and unify communities.
Posted by Edra Soto at 4:00 PM