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´ Angélica Peric´ Mónica Peric Sculptures



“I work the material, its transformation, vitality, the play of texture, contrasts and volumes, and see the mystery hidden in each of them; with the various different materials: bronze, copper, plastic or clay, see their possibilities and development. What interests me is to go in, find myself, watch the birth of something new and feel the sense of eternity“ Angélica Peric´ Brussels 2012

Fotograph ´ Santiago Peric´ Biskupovic, María Angélica Castillo Mandiola and their daughters Angélica (up), Marisol (left) and Mónica (right)


Enveloped in a Shadow José de Nordenflycht

We all learn from others and sib-

lings, generally speaking, are always the first others with whom we share a living space. While parents are always the past and children are the promise of the future, siblings are always present. That other “I”, with a different flavour and colour, who re-

Angélica Peric´

minds us of where we came from by the identical sound of his or her proximity.


The shortest distance between the

original and the copy will always be that between two siblings.

For that reason, when we look at

the recent history of art and come across brothers such as the Duchamp-Villon and the Pevsner-Gabo; or, closer to home, the AntĂşnez-ZaĂąartu and the Iommi-Girola, it should not surprise us to find that, however great the distances that exist between them, the appearance of that relationship is evoked precisely on the basis of that condition in which the future seems possible to


them in an eternal present.



And in the case of the Peric-Castillo

sisters, the situation is no different.

While Angélica makes her state-

ment from sculpture, Mónica makes hers from painting. While Angélica works from her material, Mónica investigates from her materials. While colour becomes mass for Angélica, for Mónica the mass of colour invades everything. While Angélica models and works by addition, Mónica stains and works by subtraction. All in all, their differences are obvious and varied, as an attentive observer can see at a glance.


So there is no possibility of confron-

tation; rather it is a case of one finding out about the work of the other each time they return. Difference, therefore, is what gives us similarity: though many proclaim equality as the promise of justice and equity, the ethical principle implied gives way before aesthetics, which blend everything with the ineffable argument of form.

Difference does not destroy the

link; on the contrary, it makes it evident, like a suspension bridge stretched between two banks of a single river. And there is clearly a very close link between the works exhibited in this room, one that moves around the question of how impossible it is to understand something that always goes beyond our met-


aphysics - death – by asking about the body, understood as the proof of its abandonment, that infinite loneliness looking in the mirror. A body which – over and above the subject as an objective – functions in its absence by presence in the case of Angélica and in presence by absence in the case of Mónica.



This play on words is quite accurate

if we look carefully at the bodies sculpted by the first and the shoes painted by the second. A body that makes presence out of the fetish and a fetish present in the absence of the body.

In this work of sculpture by AngĂŠli-

ca, the energy released by the pressure of the fingers on a material held in the palm of the hand is the aim of the modelling, the result being formal, mostly horizontal bodies, which intercept us amid the verticality of our own bodies. That vertigo felt when confronting the abyss of another body is what her sculpture establishes wherever it appears.

Consensus opinion has been tell-

ing us for a long time that sculpture goes back further in history than painting. That statement is surely due to the nature of its physical resistance to the passage of time: sculpture is memory, whereas painting is only history. In other words, while sculpture confronts us with the abyss of a foreign body in order to remind us, painting can tell of the absence of that same body only when we feel the lack of it.


Angélica Peric, ´ Atelier Brussels 2012

Angélica Peric´ Castillo, Chilean, ARBS Studies : 1974-1978 School Fines Arts, Santiago, Chile. Sculpture Selected Group Shows : 1976 Providencia Cultural Institute, Santiago 1977 “Fountain Concurse “, Santiago 1981 “Days Expressions” Santiago 1981 Exhibits “Joung Arts”, Las Condes Cultural Institute, Santiago 1982 Group - Art Space , Santiago 1983 Group , Contemporary Arts Gallery, Santiago 1983 “Homage Women “, Santiago 1985 “Rencounter with Art”, Concepción University 1987 “100 years Interamerican System“, Fines Arts Musseum , Paraguay 1993 “Collective Five “, OMPI, Geneve, Switzerland 1994 “International Woman Exhibits “, Palais des Nation, Geneve , Switzerland 1994 Centre Cultural Jean Monet, France. “Encontres”, Societé Suisse de Femmes Artistes 1995 Triennal de Sculpture V , Lancy, Switzerland 2001 “Chilean Artist “, Kundst Centre Silkeboord, Denmark

2002 “Chilean Artist “ América Museum , Ma-

1999 “Matery and Form “, Sculpture Park,

drid, Spain


2003 “Art London Fair” London , UK

2004 Walton Gallery, London, UK

2006 Soech Mulato Gil Space Arts , Santiago

2006 Art Space. Embassy of Chile, London, UK

2007 Esculptors, Moneda Palace, Chile

2011 “Emerge I”. European Union, Brussels,

2007 “Metals” Soech, Santiago Library, Chile


2008 Exhibits Esculptures in Clay , Soech,

Belonging to Artist Associations

Santiago Library, Chile

1995 Swiss Society Painters and Sculptors .

2008 “Esculptors”

1996 Esculptors Association Geneve .

Central University, San-

tiago, Chile

1998 SOECH, Sculptors Society, Chile .

2011 Exhibits Painters and Sculptures “ Art

1998 Ecologist Artists ,Chile.

Present”, Paris, France

2005 Member Royal British Society of Sculp-

One Person Exhibits

tors, UK

1978 Contemporary Institute” , Santiago, Chile

2011 Assist to “Academie Beeldende Kunsten

1986 “Travel to Tierra del Fuego”, Ushuaia,

Anderlecht”, Brussels, Belgium



1989 Center of Brasileans Studies , Asunción,

1977 Second Award “Fountain Concurse”


Centre Cultural Los Andes,Santiago

1991 “Recounter with Creation “, Catolic Uni-

1981 First Award Concurse Joung Arts Man-

versity Centre, Santiago, Chile

quehue, Santiago, Chile

1994 “Esculturas”, European Centre Nuclear

1985 Honor Award “IV Concurse Plastic Cre-

Studies , Genevre , Switzerland

ation”, Santiago, Chile

1996 “Archade Chausses Coq”, Gallery Ge-

Public Scultures :

nevre, Switzerland

1987 “Inmigrant Hommage“, Tierra del Fue-

1997 “Centre Cultural Morges”, Morges, Swit-

go, Argentina


2009 “In Front of the Mountain” , Sculpture

1997 “CAPT”, Gallery Geneve, Swissland

Park, Santiago, Chile



In this, Mónica’s new pictorial work,

the fetish of the shoe is represented with all the candour of which her obsession is capable. The effect of the saturation of the colours is to involve the spectator from the vibration of his retina, leaping from personal memory to an anonymous subject, which is what we all are, every time that we recog-

Mónica Peric´

nise ourselves in the distance of her works, which draw us in.








So, if we are within what we per-


ceive and pre-existence only becomes real in relation to ourselves, clearly these first perceptions of reality that signify the immanent reality of the sculptures and paintings are the first thing that we could be taught to see. As regards the teaching given to that seeing, we need to remember that pottery predates the origins of painting. According to Pliny the Older, it was the daughter of the potter, Butades of Sicion, who projected the shadow of her beloved in her father’s workshop, converting the threat of loss into the defeat of oblivion, passing from the stamp to the figure.

The work of the Peric-Castillo sis-

ters is therefore placed in this room, enveloped in the shadow, that unique stain – painting – which cannot detach itself from its body – sculpture. José de Nordenflycht


M贸nica Peric, 麓 Photo of Studio Santiago, Chile 2012

Mónica Peric´ was born in Santiago, Chile in 1962. She entered the University of Chile in 1994 to study Art, making painting her special field of study, and graduated with maximum distinction in 1998. She then taught

Between 1996 and 2006 her works also fea-

drawing as a teaching assistant at that same

tured in collective exhibitions on numerous

university from 1998 to 2000.

occasions, including “Ecoferia” at the Mapo-

She has been a member of the Chilean As-

cho Station Cultural Centre in 1996, “En-

sociation of Artists for Ecology since 1996

gravings” at the Juan Egenau Room in 1997,

and the Chilean Association of Painters and

“Individuals” at the Goethe Institute in 1999,

Sculptors since 1999. Since then, she has

“A Thousand Faces in April” at the National

mounted individual exhibitions on three oc-

Fine Arts Museum in 1999, “State Proof” at

casions: “The Broken Stain” in 2002 at the

the Bucci Gellery in 1999, “Chile, where the

Museum of Contemporary Art, “The Re-

Future is Born” at the Casa Delia del Carril

bound/Rebirth of the Spatula” (2004-2005)

in 2000 and “Impronta Xxi” at the Museum of

at the Viña Pérez Cruz Winery and “Painting

Contemporary Art, also in 2000. In 2001 her

in Real Time” at the ‘Matucana 100’ Cultural

works were shown at exhibitions in the San

Centre in 2005.

José Hospital and at Apech: “Small Format”.

In 2003 she took part in the exhibition “Artists and Wild Flowers” at La Sebastiana, Isla Negra and La Chascona, the homes of poet Pablo Neruda, and in early 2006 showed her works at the exhibition “Contractura (Notes on Chilean Abstract Art)” at the XVIII Season of the Chiloé Museum of Modern Art. From 2007 to 2011, the artist was engaged in a process of introspection and experimental work, painting alone in her studio without exhibiting, while accompanying her mother during her long final illness. Her new works, grouped under the title “In Memoriam”, are a reflection of this period. This 2012 exhibition will be the second mounted jointly by the artist’s sister, sculptor María Angélica Peric. The first was at the Archade Chausse-Coqs Gallery in Geneva, Switzerland in 1995.


Index of Works Plasticret, 60 x 70 x 100 cm, Spread 01 Bronze, 15 x 12 x 12 cm, Emerge II 02 Plasticret, 60 x 72 x 64 cm, Tension II 03 Bronze, 17 x 22 x 16 cm, Tension 04 Bronze, 32 x 28 x 18 cm, Women II 05

Angélica Peric´ Mónica Peric´

Bronze, 52 x 25 x 22 cm, Inspiraton 06

London, United Kingdom / 2012

Bronze, 30 x 20 x 18 cm, Embrace 07 Bronze, 25 x 9.5 x 9.5 cm, Lovers 08

Bronze, 44 x 42 x 42 cm, Perception 09

Steel-oxide, 87 x 40 x 42 cm, Flight 10

Bronze, 21 x 11 x 11 cm, Emerge 11

Watercolour, 19 x 14 cm, Grey skirt 12 Watercolour, 19 x 28 cm, Portrait of the artist’s mother 13

Art Director

Pencil, 21 x 13 cm, Mónica 14

Peter Kroeger

Pencil, 21 x 13 cm, Portrait of the artist’s mother 15


Oil on canvas, 30 x 30 cm, Shoe II 16

José de Nordenflycht

Oil on canvas, 40 x 40 cm, Series/Blue Shoe 17

Graphic design

Oil on canvas, 40 x 40 cm, Red stockings 18

Sandra Marín

“In that present tense which painting is, the model and I meet in an intermediate space where sensations, memories, colours vibrate and express themselves by means of the chosen palette“ Mónica Peric´ Santiago, Chile 2012

Photograph María Angélica Castillo Mandiola, 1964


Angélica Peric´ Mónica Peric´ Sculptures




Catalogo facing  

Catálogo de obras de las artistas Angélica y Mónica Peric para exposición en Gallery 27 London

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