The gallery’s presentation features the debut of the painting The Space Between Us (2022). In this work, two figures (the artist and her partner) stand on the beach with their heads wrapped in these same space blankets. They attempt to kiss, pressing their faces close to one another, but are unable to do so through the mylar.
Her work is in the permanent collections of the Fine Arts Museums of San Francisco, California; Blanton Museum of Art, University of Texas, Austin; Denver Art Museum, Colorado; Nevada Museum of Art, Reno; National Museum of Mexican Art, Chica go, Illinois; Weatherspoon Art Museum, University of North Carolina, Greensboro; Snite Museum of Art, Norte Dame University, Indiana; The Cheech Marin Center for Chicano Art, Culture & Industry, Riverside, California; and the Kadist Art Foundation, San Francisco, California and Paris, France.
The booth presentation also includes the video work and photographs in the series Borrando la Frontera (Erasing the Border) (2011/2021), which documents a site specific action/intervention in which the artist spray painted the border wall separating Playas de Tijuana from San Diego’s Border Field State Park in an attempt to "erase" the border wall at a time when Sunday family visits at the border were stopped by the Obama administration
ANA TERESA FERNÁNDEZ was born in Tampico, Mexico in 1981. Her family emigrated to California in 1992. Since then, she has been based in San Francisco. Her practice explores the politics of intersectionality through time based actions and social gestures that reference land art, performance, and history painting. Her multidisciplinary practice often begins with performance, and expands to video, photography, painting, and sculpture.
Ana Teresa Fernández at the Armory Show 2022 | Focus: Hall 3E | Booth F29
Catharine Clark Gallery announces its debut presentation at the Armory Show at Booth F29 (September 9 – 11, 2022) as part of Focus, a special curated presentation of work by artists centered on environments and borders selected by Carla Acevedo Yates, Marilyn and Larry Fields Curator at the Museum of Contemporary Art, Chicago. The gallery features a solo booth presentation of work by Ana Teresa Fernández, whose rigorous practice emerges from site specific interventions and embodied actions, frequently meditating on how borderlands delimit movement and stasis.
Fernández’s painting derives from a video that refers back to René Magritte’s iconic surrealist painting The Lovers (1928), in which a man and a woman, locked in an embrace, attempt to kiss through fabric shrouds. Through this art historical gesture, Fernández evokes the idea of frustrated intimacy suggested by Magritte’s painting. The use of the mylar blankets, however, centers these metaphors of isolation and contact at the border and raises deeper political and ethical stakes.
Fernández has been represented by Catharine Clark Gallery since 2021, and her recent solo exhibition, At the Edge of Distance, was met with critical success with features in the San Francisco Chronicle, Juxtapoz, and Squarecylinder. Past projects have been reviewed and cited in the Guardian, Vogue, The Economist, and The New Yorker, among other publications.
For enquiries, contact Anton Stuebner, Director at associate@cclarkgallery.com
Ana Fernández
Teresa
Catharine Clark Gallery | cclarkgall ery.com | 2
The Space Between Us, 2022 Oil on canvas 46 x 72 inches
Ana Teresa Fernández Eco and Narciso II (performance documentation, Rodeo Room at the Headlands Center for the Arts), 2008 Oil on canvas
60 x 72 inches
Catharine Clark Gallery | cclarkgall ery.com | 3
Catharine Clark Gallery | cclarkgall ery.com | 4 Ana Teresa Fernández Ablution, 2010 Oil on canvas 36 x 48 inches
Catharine Clark Gallery | cclarkgall ery.com | 5 Ana Teresa Fernández The Space Between Us, 2022 Single channel video with sound Edition of 5 + 2AP 2:38 Viewingminuteslinkupon request
Catharine Clark Gallery | cclarkgall ery.com | 6 Ana Teresa Fernández Formado en Ficción, 2022 Single channel video Edition of 5 + 2AP 2:05 Viewingminuteslinkupon request
Catharine Clark Gallery | cclarkgall ery.com | 7 Ana Teresa Fernández Formed in Fiction, 2022 Single channel video Edition of 5 + 2AP 1:23 Viewingminuteslinkupon request
Catharine Clark Gallery | cclarkgall ery.com | 8 Ana Teresa Fernández Borrando la Frontera (Erasing the Border), 2011 Single channel video with sound Edition of 5 + 1AP; Edition 5/5 3:38 Viewingminuteslinkupon request
Catharine Clark Gallery | cclarkgall ery.com | 9 Ana Teresa Fernández Drawn Below, 2018 Single channel video with sound Edition of 5 + 2AP 8:37 Viewingminuteslinkupo n request
Catharine Clark Gallery | cclarkgall ery.com | 10 Ana Teresa Fernández Erasure, 2015 Single channel video with sound Edition of 5 + 2AP 5:54 Viewingminuteslinkupon request
Catharine Clark Gallery | cclarkgall ery.com | 11 Ana Teresa Fernández Borrando la Frontera (Erasing the Border) 01, 2011/2021 Edition of 5 + 2AP Sheet: 26.67 x 40 inches Frame: 27 1/2 x 41 1/4 inches framed Also available at 20 x 30 inches in an edition of 10 + 1AP 48 x 72 in an edition of 5 +1AP
Catharine Clark Gallery | cclarkgall ery.com | 12 Ana Teresa Fernández Borrando la Frontera (Erasing the Border) 02, 2011/2021 Edition of 5 + 2AP Sheet: 26.67 x 40 inches Frame: 27 1/2 x 41 1/4 inches Also available at 20 x 30 inches in an edition of 10 + 1AP 48 x 72 in an edition of 5 +1AP
Catharine Clark Gallery | cclarkgall ery.com | 13 Ana Teresa Fernández Borrando la Frontera (Erasing the Border) 03, 2011/2021 Edition of 5 + 2AP Sheet: 26.67 x 40 inches Frame: 27 1/2 x 41 1/4 inches Also available at 20 x 30 inches in an edition of 10 + 1AP 48 x 72 in an edition of 5 +1AP
Catharine Clark Gallery | cclarkgall ery.com | 14 Ana Teresa Fernández Espina II, 2022 Pine and varnish Approximately 93 x 67 x 18 inches
