The Colour of Spring
Yolanda
April 12, 2024/
June 30, 2024
Sánchez
Museum of Art - DeLand
ACKNOWLEDGMENTS
The following donors and businesses merit special appreciation for their support and their commitment to this year’s programming: Robert and Theresa Apgar, David Abeles and Sue Sexton, Becky Adesso and Kaitlyn Hunt, Jeff and Karen Allebach, Scott and Christe Ashley, Denise Autorino, Dennis Aylward, Grady Ballenger and Karen Cole, Joel and Sandra Bautista, Connie and Robert Berger, Bruce Bigman and Carolyn Bigman, Samuel and Donna Blatt, Michael and Beverly Bleakly, George S. Bolge, Ann Brady and Rick Kolodinsky, Alain and Cory Bricourt, Everett Butler, Tom and Jean Burns, Steven Buschman, Billy Calkins, Edwin and Gwen Carson, Courtney and Kelly Canova, Ernest and Marie Clark Carpenter, Miles and Stephanie Clark, John and Linda Clifford, Joseph and Virginia Comella, John and Vernette Conrad, Taver and Joan Cornett, Sal Cristofano and Laura Gosper, Greg Dasher, Manny De La Vega, Astrid de Parry and Dan Gunderson, Paul and Michelle Deritter, Lisa and Ralph DeVitto, Robert and Sheila DeYoung, Jewel Dickson, Robert Dorian and Linda Colvard Dorian, Michael and Regina Dunn, Anthony Ehrlich and Pauline Copello, Richard and Carolyn Evans, Geof and LaVerda Felton, Barbara Fisher, Richard and Lilis George, Kyle and Lauren Glass, Stephen and Jane Glover, Solomon Greene, Lorna Jean Hagstrom, Nancy and Curtis Henschel, David and Susan Hensley, William and Catalina Hoffman, Paul and Charlene Holland, John and Karen Horn, John Jeronimo, Betty Drees Johnson, Frank and Etta Jean Juge, Cynthia and Steve Kurth, Joan Lee, Margaret Lee, Lee and Jacquelyn Lewis, Stanley and Claire Link, Tim and Mary Jeanne Ludwig, Bill and Marilyn Mancinik, Margot Matteson, Philip and Lisa Nall, Cecelia McLaughlin, Greg and Beth Milliken, Gretchen and Ron Moyer, Lisa Ogram, Todd Phillips, Frances Porter and Valerie Vaganek, Hari and Jenneffer Pulapaka, Susan Quinn and Charles Foell, Candy Queen and Donald Sutherland, Barbara Rama and William Volker, Tommy and Dagny Robertson, Gary and Mary Anne Rogers, Stephen and Claudia Roth, Roger and Carol Schnetzer, Patty Schwarze, Mark Shuttleworth and Anna Tomczak, Gabriel Smith, Peter and Elizabeth Sorenson, Mac Steen and Kathy Steen, Clifford and Lavonne Strachman, Timothy and Marilyn Stodola, Marty and Joe Suarez, Judith Thompson, Mara Whitridge, Ian Williams and Nancy Hutson, Linda R. Williamson, John and Nancy Wilton, Dave and Sandy Wilson, Earl W. and Patricia B. Colvard Foundation, Duke Energy Foundation, Publix Super Market Charities, Inc., Advent Health DeLand, Boulevard Tire Center, City of DeLand, County of Volusia, DeLand Breakfast Rotary Club, DeLand Fall Festival of the Arts, DeLand Rotary Club, Inc., E.O. Painter Printing Company, Junior Service League of DeLand, Krewe of Amalee, Mainstreet Community Bank, Massey Services, Inc., Merrill Lynch, Ogram, Higbee & Associates, Museum Guild, Orange City Blue Spring Manatee Festival, Passport Luxury Guide, Robertson Advisory, Inc., Florida Department of State Division of Arts and Culture, University, Walmart, Waste Pro USA, West Volusia Beacon, West Volusia Tourism Authority.
Finally, I would like to recognize the Museum’s Board of Trustees for their oversight and support, as well as the talented Museum staff whose daily achievements enable our organization to realize its ambitious and diverse exhibition program.
Pattie Pardee Executive Director Museum of Art – DeLand
Front Cover: Laughter in the Garden (Detail), 2021, Silk organza fabric, Bojagi construction, nine panels, each panel approx. 60 x 24 in.
Back Cover: El Agua y Sus Sueños (Detail), 2012, Silk organza fabric, Bogaji construction, approx. 108 x 96 in.
YOLANDA SÁNCHEZ
We must learn to see more, to hear more, to feel more. Susan Sontag
Nature, in a very broad sense, is my source of inspiration. In a non-intellectual way, I am translating and projecting thoughts, emotions and sensations, into a moment of meeting, working with light, color and mark, and the materiality of the paint or fabric itself. I am holding a space for the viewer—to enter, to be there, to have a moment of contemplation, and to finish the work, as it were. Subject and object are dissolved and replaced by a presence—a “presence without form.” There is no story to be told, just simply a desire to awaken.
My working instruments, whether in painting or textiles, are rhythm, color and light. I am interested in the joyful, playful or even spiritual, properties of color and light. From a formal perspective, my study and training in calligraphy and my background in dance inform my marks and my compositions. The practice is improvisational and process-oriented, abstract. The relationship of one color to another creates a rhythm and tempo, and establishes the composition. Each color suggests the next color, almost like the “call and response” form found in many musical traditions. There is a continuous orchestration, as the colors converse with one another, suggesting a mood or vibe. I am often not sure where it is going or going to go. It is a surprise at every turn. I shape my own perception as I work.
My textiles, painting with fabric, are inspired by the Korean art form known as Bojagi. In its traditional form, the stitching and seams create linear elements that are employed and are viewed as elements of the design, especially with the use of translucent fabrics, and are what distinguishes Bojagi from patchwork textiles found in other traditions. My Bojagi-inspired textile work honors the tradition, yet extends and interprets the basic structure of Bojagi to a form that is contemporary, varying in medium and size, and utilizing color compositions and stitching techniques less anchored to established methods. In effect, my work is a synthesis of the practices of both painting and textile art.
I think of my work as portals to the invisibles, as prayers. The synthesis of rhythm, color and light—the joining of the seams, the geometries in the textiles—are all prayers, passageways, intermediaries between the seen and
Wild Nights (Diptych), 2023, Oil on canvas, 30 x 60 in.
the unseen. The work is rooted in nature and is place-based, that is, I am reflecting the particular light and color of where I live, of my immediate environment. My works are invocations, collective invocations, if you will, connections to a larger world.
Making art for me is a way of being present in the world; it is an act of attention. And through this attention, I give back and offer praise to the world. As such, my work is celebratory, expanding, opening, and about offering pleasure. I would like to restore beauty to its place as a vehicle for communicating humanist values, propelling us toward the good. How we make choices, how we act, is deeply connected to states of consciousness, so “anything which alters consciousness in the direction of unselfishness, objectivity and realism is to be connected with virtue.” No longer is a discourse about beauty taboo or regressive. Works of art – the visually perceived environment - and beauty, in particular, have the power to shape our lives. The pleasure derived from beautiful things inspires and guides our concern for ourselves, each other, and our world.
Water Your Love Every Day (Diptych), 2023, Oil on canvas, 48 x 96 in.
BIOGRAPHY
Born in Havana, Cuba, Yolanda Sánchez immigrated to the United States in February 1960. She obtained a Ph.D. in Clinical Psychology from Florida State University and has practiced and taught psychology at the graduate level for over 30 years. In her mid- thirties, Dr. Sánchez returned to school, obtaining a BFA and subsequently, an MFA from Yale University in painting. She is a Fulbright scholar, completing her fellowship as a painter in Spain for one year.
Recently, she was a Visiting Scholar & Visiting Artist at the American Academy in Rome, Italy. She has received numerous awards including in 2023, an Artist Access Grant from the Miami-Dade Department of Cultural Affairs to support a residency in Oaxaca, Mexico. Sánchez has taught at Florida International University, the University of Miami, Nova University and Yale University. Currently, Dr. Sánchez is a full-time working artist, exhibiting nationally and internationally in numerous venues. In New York, she is represented by Kathryn Markel Fine Arts. She is also a curator and writer, and formerly Director of Fine Arts & Cultural Affairs at Miami International Airport, a position she held for 21 years.
Pleasure is a Measure of Freedom, 2020-2021, Silk organza fabric, Bojagi construction, approx. 96 x 48 in.
El Agua y Sus Sueños, 2012
Silk organza fabric, Bojagi construction
108 x 96 in.
Between the Clouds (Triptych), 2018, Oil on canvas, 70 x 96 in.
CATALOGUE
1. The Play of Water (Diptych), 2024, Oil on canvas, 48 x 120 in.
2. Water Your Love Every Day (Diptych), 2023, Oil on canvas, 48 x 96 in.
3. When the Clouds Fly the Moon Travels (Diptych), 2023, Oil on canvas, 48 x 96 in.
4. Wild Nights (Diptych), 2023, Oil on canvas, 30 x 60 in.
5. Road to the Sun, 2022, Oil on canvas, 52 x 42 in.
6. Unforbidden Pleasures, 2022, Oil on canvas, 48 x 36 in.
7. Viola Street Blues, 2022, Oil on canvas, 48 x 36 in.
8. To Promise a Beginning, 2018, Oil on canvas, 60 x 48 in.
9. Between the Clouds (Triptych), 2018, Oil on canvas, 70 x 96 in.
10. Buddha’s Last Instruction, 2014, Oil on canvas, 77 x 35 in.
11. Close to Home, 2019, Oil on canvas, 48 x 60 in.
12. When We Dance, 2014, Oil on canvas, 59 x 55 in.
13. Sunflower Sutra, 2017, Oil on canvas, 60 x 48 in.
14. My Foolish Heart, 2017, Oil on canvas, 41 x 29 ½ in.
15. Between Two Waters II, 2018, Oil on canvas, 70 x 60 in.
16. Between Two Waters III, 2018, Oil on canvas, 70 x 60 in.
17. Kisses from the Moon #1, 2021, Oil on Arches paper, 30 x 22 in.
18. Kisses from the Moon #2, 2021, Oil on Arches paper, 30 x 22 in.
19. Kisses from the Moon #3, 2021, Oil on Arches paper, 30 x 22 in.
20. Kisses from the Moon #4, 2021, Oil on Arches paper, 30 x 22 in.
21. Kisses from the Moon #5, 2021, Oil on Arches paper, 30 x 22 in.
22. Kisses from the Moon #6, 2021, Oil on Arches paper, 30 x 22 in.
23. Kisses from the Moon #7, 2021, Oil on Arches paper, 30 x 22 in.
24. Kisses from the Moon #8, 2021, Oil on Arches paper, 30 x 22 in.
25. The Body Is a Fiesta, 2020, Silk organza fabric, Bojagi construction, 65 x 40 in.
26. With a Full Heart, 2016, Silk organza fabric remnants, Bojagi construction, 32 x 42 in.
27. Devoted, 2021, Silk organza fabric remnants, Bojagi construction, 24 x 23 in.
28. Love Calls You by Your Name, 2021, Silk organza fabric, Bojagi construction, 180 x 24 in.
29. Laughter in the Garden, 2021, Silk organza fabric, Bojagi construction, nine panels, each panel approx. 60 x 24 in.
30. Pleasure is a Measure of Freedom, 2020-2021, Silk organza fabric, Bojagi construction, approx. 96 x 48 in.
31. El Agua y Sus Sueños, 2012, Silk organza fabric, Bojagi construction, 108 x 96 in.
32. Shanti, 2021, Silk organza fabric remnants, Bojagi construction, 24 x 24 in.
33. The Garden of Live Flowers, 2022, Silk organza fabric remnants, Bojagi construction, three sculptures, approx. 10 x 8 ft.
34. Falling in Love Outwards, 2023, Silk organza fabric remnants, 33 x 24 in.
35. The Winds of Homecoming, 2023, Knotted silk organza fabric remnants, jute cord, bamboo pole, 80 x 120 in.
All works courtesy of Kathryn Markel Fine Arts, New York, NY and the Artist
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