Marianela Salgado

MA Degree in Plastic Arts, with emphasis on Watercolor. School of Plastic Arts. Faculty of Fine Arts, University of Costa Rica, 1980. BA of Plastic Arts, specializing in painting. School of Plastic Arts, Faculty of Fine Arts, University of Costa Rica, 1979.
2019, SINTERCAFE, First Place, Small Format Art.
All Planet Earth, Contemporary Art Gallery Online.
Honorable mention, Two-dimensional Biennial Marco Aurelio Aguilar, Municipal Museum of Cartago, 2019.
Second place, First artistic contest “Deep Look” Talentum Gallery San José, Costa Rica 2017.
First place “Painting Contest Salon Chile 2017”, National Gallery, San José, Costa Rica 2017.
Honorable Mention, III Annual Hall ADN-CCRI, Municipal Museum of Cartago 2015.
First Place II Annual Exhibition of the Costa Rican Association of Visual Artists (ACAV 2015.
2010 Mention of honor first Biennial of the Ibero-American textile network, Centro Cultural Norteamericano-Costa Rica.
2001 First place, SINTERCAFÉ.
Contest1997 Second place, VII Drawing Contest, Ministry of Culture and CCSS 1980 Third place Urban Landscape Contest, Ministry of Culture, Costa Rica.
2015 Participation in the Sixth Biennial of Beijing, China, (September 2015).
2007 XVI Ibero-American Salon, Washington D.C. “The color of a memory” representative work of Costa Rica.
A total of 29 individual exhibitions in her artistic career, among which are: 2019, “Landscapes to watch” Gallery of the University Council, U.C.R.
2017, “Do without” National Gallery, San José, Costa Rica.
2013 “Suggestions for living”, Rafael Ángel Calderón Guardia Museum, San José, Costa Rica.
2012 University of Costa Rica, “OBSESSIONS”, Atlantic Headquarters.
2012 VIP Lounge Santamaria Airport, blank jobs, Costa Rica.
2011 Dédalo Gallery, “Sewn Papers”, Lima, Peru.
2008 French Alliance, Costa Rica “Situations of Silence”
2007 Embassy of Costa Rica in Washington D.C. U.S.A. Wise Theme Exhibition.
2004 ”Loose Images’ García Monge Gallery, National Theater.
1997 Individual Exhibition "Los Escapularios", Mexican Cultural Center. 1996 I Biennial Exhibition Paiz Centroamericana de Arte Guatemala City, Guatemala.
1994 Tapestry Exhibition, Joaquín García Monge Gallery, Costa Rica.
1993 Individual exhibition Museum "House of the Municipality", Panama.
1982 Individual exhibition of Watercolors, Galería Destellos.
I have more than 50 collective exhibitions in which the following stand out:
2019, Fabriano in Acquarello, Fabriano in watercolor, Italy.
2018, Rate yourself “Theological” Municipal Museum of Cartago, San José, Costa Rica.
2017: III Annual Hall ADN-CCRI, Municipal Museum of Cartago 2016: October First International Meeting of Sculpture and Miniature Watercolor, Jade Museum, Costa Rica.
2016: November "Animalistic Encounter" National Gallery.
2016: “Urban Memory, Identities. Amón Cultural House, San José.
2016: September, “Polska Rica” textile exhibition at the Art School in Lodz, Poland.
2016: May, 15 Triennial of Textile Art, Poland.
2016 April “Rubén Darío, engravings” National Gallery.
2015 December “Agreement in Disagreement”, National Gallery.
2016 December “Erotic Pleasure”, Brazilian Cultural Center.
2015 November, "Memory Recovery" National Library Art Book.
2015 November ”VI Urban Memory Plein Air Costa Rica” in Barrio Amón, TEC.
2 015 July, The art of the Federated College of Engineers and Architects, Rafael Ángel Felo García Gallery.



The ancient walls of ancient cities such as Antigua Guatemala or many other ancient capitals, have their own language, whose pareidolic reading has led me to represent them from their wonderful information and their ancestral symbols that I recognize in each wall of many ancient cities of America and of Europe.
Each piece of art is mixed media, such as the one that built these ancient walls, which give us pareidolic images.


This is, mixed media on watercolor paper,19 x 35 inches 2019. This wall was my perception on a colonial church wall in Antigua Guatemala, where colonial religious repression was the kind of dialogue with the aboriginal people there.


Mixed media on watercolor paper, 19 x 35 inches 2019.
Each ancestral wall keeps the memories of the witnesses who lived in that building and relied in antiquity on these walls to talk about their diverse feelings.


Mixed media on watercolor paper, 19 x 35 inches, 2019.
In colonial times, emotional manipulation overcame the ancestral power of the aborigines, but each wall maintains the pareidolia of its history. That is why in this interpretation of the ancient walls, it is seen that someone leads another person, but it is not known who leads whom.


Mixed media on watercolor paper,35 x 19 inches 2019.
The unequal union between social, racial and spiritual diversity does not achieve unity but arrogance in whoever is above.


mixed media on watercolor paper, 19 x 35 inches, 2019.
Each ancient wall keeps in its memory the history of the town in which it was built, making it clear that historically it is the owner of each building who can be remembered, leaving the workers forgotten who were the real designers and builders.


mixed media on watercolor paper, 19 x 35 inches, 2019.
Each wall keeps a pareidolic perception of the ancient inhabitant of each ancestral culture. I always find those images even nobody sees them in those walls.