Mariangeles Soto-Diaz

Los Angeles, California, USA

Most of my series have implicit connections to my native country, Venezuela, where oil production made the promise of modernism more tangible and its failure more poignant than elsewhere in Latin America. I ruminate on the future of abstraction while glancing back at Venezuela’s collapsed modernist project—its chromatic remains—through the fracturing prism of contemporary conditions.

I use the language of abstraction as a way to materialize and connect ideas. Using both conceptual and formal frameworks I develop series in order to extend the particulars of single pieces, each belonging to a larger group. Conceiving abstraction as the critical and poetic language of potential allows me to pierce the detached geometries of ordering structures, making them responsive and more pliable.

I work with paint, paper, ink, slides, spices, UPC codes and vinyl tape. But my favored material is paradox: the promise and perils of utopian abstraction, political formalisms, universal specificities, and the underlying order of chaos.

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