LAURA SILVINA COLS
Born in Argentina, Buenos Aires on March 7, 1967. Since her
childhood and adolescence she channeled her artistic
potential through classical, contemporary and modern dance.
Her first approach to the plastic arts was with a ceramics
workshop where she made works with molds that she then
painted and baked.
After high school, she studied teaching and psychomotor
skills. The latter allowed her to see the body as a tool and to
connect with art as a powerful way of expression of the self.
In 2002 she started a decorative painting workshop, where
she learned different techniques such as patinas, pickling,
craquelure, decoupage. This workshop opened the possibility
to explore the characteristics of different materials.
In 2005 she moved to Montevideo, Uruguay, where she
continued training in these techniques until she discovered oil
painting, also using gesso textures. This marked her beginning
in the world of figurative painting.
BIO
Two years later he moved again to Asuncion, Paraguay where
he decided to give continuity to his artistic development and
had the opportunity to train with one of the best painters of
the place, the plastic artist Porfirio Bustos. In his workshop he
developed more knowledge in drawing and oil painting.
Oriented to the inclusion of texture in his works, he began to
work in oil with a palette knife. This allowed him to gradually
leave figurative art to migrate towards the abstract.
Years later, she moved back to Buenos Aires, and was
impressed with the works of the plastic artist Gabriela Berrios,
because of the colors and textures. She took classes with her
for two years, during which she moved towards a more
personal style.
It was then that she felt that she had to venture into the
abstract world, free of structures and preconceived images.
That is why she began to take classes with Plastic Artist
Marcela Chouza, who introduced her to the world of gestures,
colors and free expression. This workshop not only brought
her richness as an artist, but also in her work as a
Psychomotrician.
BIO
ARTISTIC TRAINING:
*Soledad García Folle decorative painting workshop.
Montevideo. Uruguay
*Drawing and Painting Workshop. Porfirio Bustos. Asuncion.
Paraguay
*Acrylic Painting Workshop.
"Alma Workshop. Gabriela
Berrios. Buenos Aires. Argentina
*Individual Classes Abstract Impressionism. Marcela Chouza.
Buenos Aires. Argentina
*Personal Coaching of the Creative Process. Rebecca
Mendoza
COURSES:
*Embossing on tin
Modules realized in Rebecca Mendoza
'
s workshop:
*The ABC of Cold Encaustic Rebecca Mendoza.
*The ABC of Hot Encaustic.
*Color Module.
*Different Painting Techniques
*Monotypes. Engraving
*Collage
BIO
EXHIBITIONS:
*IV Biennial of Contemporary Art 2018
*Art at Hospital 2020
*Virtual art Gallery 365 2020
*Lunática 2020
*II International Biennial "CUEVA DE LAS MANOS" Santa
Cruz, Argentina
*Lunática 2021
*Outstanding Artist of the Gallery
"Juana de Arte
" 2021
*Exhibition
"Lagos del Sur
" Cultural Direction of Perito Moreno”
The senses connect us with the world around us and with our own interiority. Sounds, textures, different smells, flavors, images and sensations can transport us to past experiences, pleasant experiences of which we have no memory, emotions that arise suddenly without an explanation...
These stimuli are sometimes pleasant, and others can lead us to states of despair from which we need to flee...
Sensory arises from the need to transmit through art the different impacts that sensory stimuli can cause.
Laura Cols expresses through painting visual and tactile stimuli, expressed in colors, visual and tactile textures, at the same time that their transparencies and folds transmit a feeling of proprioceptive pleasure
This work invites the viewer to stimulate the sense of sight through the different colors and visual textures.
This work invites the viewer to stimulate the sense of touch through the different colors and visual textures.
This work invites the viewer to stimulate the sense of the own section through the transparencies that simulate an enveloping fabric, which welcomes and gives a feeling of being enveloped by the work
This work is based on the deep exploration of monochrome as a tool to stimulate sensory perception, transcending mere visual representation. By limiting the palette to a single color and its variations of value, the viewer is invited to an introspective experience where light and shadow become the true protagonists.
The exclusive use of the variation of values (lighter or darker) within a monochromatic range is not a restriction, but a deliberate strategy to amplify sensitivity towards tonal subtleties. Each gradation, from the pure luminosity of the white to the depths darkened by the mixture with complementary, seeks to generate an emotional and perceptual resonance.
The interaction with white to lighten not only illuminates, but also introduces purity and expansion, suggesting spaces of calm, clarity or revelation. On the other hand, the strategic incorporation of complementary colors to darken the main tone, without breaking the apparent monochromy, adds a veiled complexity. This technique allows to reach rich and deep shadows, generating a feeling of mystery, weight or density, without the chromatic distortion that would result from the mixture with pure black. The complementary acts as a "chromatic darkener", enriching the value with a subtle temperature that the most attentive eye can perceive.
In this way, the work is not only seen, but felt. Monochromy, far from being monotonous, is transformed into a field of experimentation for sight and emotion, where tonal variations evoke textures, depths, rhythms and atmospheres. The objective is for the viewer to immerse himself in a universe where light and shadow, masterfully modulated, awaken a symphony of sensations, demonstrating that the perceptive richness does not reside in the chromatic multiplicity, but in the depth and impact of its variations.
This work is based on the deep exploration of monochrome as a tool to stimulate sensory perception, transcending mere visual representation. By limiting the palette to a single color and its variations of value, the viewer is invited to an introspective experience where light and shadow become the true protagonists.
The exclusive use of the variation of values (lighter or darker) within a monochromatic range is not a restriction, but a deliberate strategy to amplify sensitivity towards tonal subtleties. Each gradation, from the pure luminosity of the white to the depths darkened by the mixture with complementary, seeks to generate an emotional and perceptual resonance.
The interaction with white to lighten not only illuminates, but also introduces purity and expansion, suggesting spaces of calm, clarity or revelation. On the other hand, the strategic incorporation of complementary colors to darken the main tone, without breaking the apparent monochromy, adds a veiled complexity. This technique allows to reach rich and deep shadows, generating a feeling of mystery, weight or density, without the chromatic distortion that would result from the mixture with pure black. The complementary acts as a "chromatic darkener", enriching the value with a subtle temperature that the most attentive eye can perceive.
In this way, the work is not only seen, but felt. Monochromy, far from being monotonous, is transformed into a field of experimentation for sight and emotion, where tonal variations evoke textures, depths, rhythms and atmospheres. The objective is for the viewer to immerse himself in a universe where light and shadow, masterfully modulated, awaken a symphony of sensations, demonstrating that the perceptive richness does not reside in the chromatic multiplicity, but in the depth and impact of its variations.
This work is based on the deep exploration of monochrome as a tool to stimulate sensory perception, transcending mere visual representation. By limiting the palette to a single color and its variations of value, the viewer is invited to an introspective experience where light and shadow become the true protagonists.
The exclusive use of the variation of values (lighter or darker) within a monochromatic range is not a restriction, but a deliberate strategy to amplify sensitivity towards tonal subtleties. Each gradation, from the pure luminosity of the white to the depths darkened by the mixture with complementary, seeks to generate an emotional and perceptual resonance.
The interaction with white to lighten not only illuminates, but also introduces purity and expansion, suggesting spaces of calm, clarity or revelation. On the other hand, the strategic incorporation of complementary colors to darken the main tone, without breaking the apparent monochromy, adds a veiled complexity. This technique allows to reach rich and deep shadows, generating a feeling of mystery, weight or density, without the chromatic distortion that would result from the mixture with pure black. The complementary acts as a "chromatic darkener", enriching the value with a subtle temperature that the most attentive eye can perceive.
In this way, the work is not only seen, but felt. Monochromy, far from being monotonous, is transformed into a field of experimentation for sight and emotion, where tonal variations evoke textures, depths, rhythms and atmospheres. The objective is for the viewer to immerse himself in a universe where light and shadow, masterfully modulated, awaken a symphony of sensations, demonstrating that the perceptive richness does not reside in the chromatic multiplicity, but in the depth and impact of its variations.
“Sensorial 1”
“Sensorial 2”
“Sensorial 3”
“Sensorial Mono 1”
“Sensorial Mono 2”
“Sensorial Mono 5”
