Ingravidez II - II
The artist was born in Madrid in 1940 and has been teaching at the School Ceramics La Moncloa in Madrid since 1964. For more than 30 years she has been working with bronze, and she has been presenting her works to the artworld since 1980 in important solo and group shows. And this not only in Spain, but also in New York, Palm Beach and Miami, in Canada (Toronto), Chile und Venezuela, in France, Belgium and England (London) as well as in Italy and Switzerland. She is also shown on the big international art fairs.
Her works usually are slightly smaller to slightly larger than life. The size of the work is a statement which is filled out by the poetical scenes or the action of the figure(s). The works showing just a figure are different, such as the “Angelito” (Small angel) series. The puttos are about 180 cm tall, about twice their natural size, and they demand the beholder’s attention far beyond the usual. Size, here, beside being an aesthetic category, also becomes an element of artistic truth.Cañero’s figures are hairless, bald, and nude. Thus they show themselves, by powerful, yet subtle means, standing aloof from our everydays world. They amplify an echo from Antiquity and follow a new variant of a classicist aesthetic. The scenes, and very often there is action in her sculptures, are poetical and also profoundly humorous, when, for instance, a baboon is sitting on a man’s head (Tan lejos, tan cerca, 2005; As far, as near). This is a work that puts humanity in perspective with all creation in a nimble-footed yet ruminative manner.
Her metaphors, designed without exaggerated, all too difficult riddles, prove to be an effective strategy of communication. Metaphors are important in art as well as in other social contexts. Metaphors are primarily seen as rhetorical tools designed to influence communicating members of a group through appeals and associations; an added aesthetical value beyond the factual, and it is directly linked to the experience of art.
A recurring theme in Cañero’s oeuvre is partner relationship. Maybe more exact: the constantly possible existential crisis of a partner relationship. What is shown as joint action, like balancing together on hoops (Deslizarse IV, 2007; Gliding) can also be viewed under the aspect of drifting apart. Other works, such as “Don’t disturb” from 2004, rather seem to amplify the feeling of togetherness, to maintain the privacy against intrusions from without.
Aurora Cañero’s oeuvre is a cosmos of human everydays, on which the figures, however, reflect at the same time. In her very conscious art, leaving out any simple effects, the meditative, the quiet element reigns supreme.
Aurora Canero Sculpture, 09.02.2013 - 20.04.2013, Samuelis Baumgarte Galerie Aurora Canero - Skulptur
The works by the artist are presented at various exhibitions and international art fairs, such as: ARCO, Madrid; Art Stage, Singapur; KIAF, Seul; PINTA, London; Art Miami, Florida; Arte Fiera, Bologna; Artissima, Turin; ArtBA, Buenos Aires; Sala Pelaires, Palma de Mallorca.