Ariane Garnier is a contemporary Costa Rican artist, who represents her time and culture within the social structures which support and inspire her art work. That is why she uses simulation to reinforce a language with the diverse identities of women, who she has been tracking back since her first exhibition, fourteen years ago, where she presented, for the first time, her dresses made of sieve, with no body, and also, the vulvar incisions upon layers of her chosen assorted metallic fabrics – a discourse that has evolved and has been nurtured by her ongoing experiences leading her to develop the concept of joint art that goes around the idea of human homogeneity. “Nobody is unique” – she declares-, “we are all made of the same material, but we only perceive such resemblance through the sieves of illusion. That is the reason why we usually consider ourselves individuals who possess a unique self – but that perception is made of an assortment of sieves we have set, one against the other, along history until we reach blindness: a tautological attitude she signifies through metallic threads, sews and ties, for her to expose our condition more clearly.
In 2006, Ariane Garnier won The First Award of the IV International Biennial of Textile Art, a recognition resulting from a private joke between the conceptual artist Rafa Sáenz and herself, by which she entitled the piece EVERYONE WITH EVERYONE of the MULTIMEDIA series, (in Spanish MEDIA means STOCKING or SOCK, that is why she played with the words MULTI-MEDIA and created the winner piece of art out of that funny idea).
In 2006 she built her first colloquium through a performance/installation with metallic sieve. Her work ABSENCE/PRESENCE was selected to participate in the VII Encounter of Art in Genalguacil, Spain.
Her performances are outstanding, because they really change the way people perceive the world. It is important to mention the one which took place on July, 2007 at the social responsibility art program she named as Bosque de las Mujeres (“The Women’s Forest”) at Fundación Tayutic in Turrialba, Costa Rica. This performance / intervention process was committed to rural, low-income women together with city women with a higher socioeconomic status than their country art colleagues. That intervention in a primeval forest with the dresses designed by each woman proved that regardless of education, income and origin, the filters we, women, use to determine ourselves is still, in most cases, the eyes of men.
Ariane as a real Postmodern Penelope, weaves sieves (not tapestries, although the object may play the same role on a wall) made with several layers of a metallic fabric placing one over the other to delicately portray the awful truth: there is no color without its absence, no black without white, and no antithesis without a thesis; similarly, there is no sleep without wakefulness. Sleep, the filter of all filters, the owner of all symbols, the real strainer. That is why she turns her sieves into beds –including blankets and pillows, over which the colorful ribbons of our unconscious are hanging, sometimes archetypically shared, some other times lonesome, tied and twisted by fear, but always arising from what we are, what we understand, from the place we lean our heads on and come up with miles of movie material recalled in unedited sequences: our pillow.
But she also created the ego’s web, extremely light art objects which depict the spider of our fears inside our minds, that she unfolds for us to become aware of them. In this case, mind is represented by the usual light metallic sieves, and every lost opportunity, memory or wishful thinking wrapped with the almost invisible threads weaved by our repeated behavioral patterns.
Thirteen solo exhibitions distributed in Costa Rica, Guatemala, the United States and Argentina.
Thirty four group exhibitions in her home country Costa Rica, Guatemala, Spain, Ecuador, México, and the United States. It is worthy of special mention her presence at the Biennale Women in Textile Art in Venezuela, at the Paris Salon, France, the International Bienal of Textil Art in Argentina, and the International Art Bienal-Siart in La Paz, Bolivia.
Her group interventions/performances have taken place at various museums, art galleries and companies in Spain and Costa Rica.
Bachelor Degree in Art specialized in Painting —graduated from the University of Costa Rica. She has taken several courses related to her profession.
Focused on her work and engaged in defining and developing an integral concept of being human in this world, Garnier has been granted different awards at national and international contests, among them, it is worth mentioning the award for the Mural Contra el Dolor (“Mural against the Pain”) located at the Hospital Nacional de Niños (National Children’s Hospital) in her country.
In her country, she has been awarded with two major art prizes in the Women’s in Art contest, at Museo de Arte Costarricense, in 2001. The same year she was awarded with the Excellence Art Recognition of SINTERCAFE Art Contest. In 2006 Garnier was selected by the Panel of Judges on the 8th Art Meeting in Genalguacil to develop an art work for the collection of such Museum-Town in Malaga, Spain. That same year, she is awarded the First Prize on the 4th International Biennale in Textile Art. In 2008, she was awarded with the Artliaison Exhibition Prize at the Jain Marunouchi Art Gallery in New York.
Social Responsability in the Arts
She has been devoted to reinforcing creativity and self-esteem —being invited by the Outdoor Museum of Modern Art in Punta Islita, Guanacaste, to be instrumental in the creation of a mural painted by the children of the day care nursery in the town of Islita.
In 2004, Garnier also taught Children’s Painting Workshops to patients at the Hospital Nacional de Niños in San José. In 2006, she supervised children’s murals at the Manzanillo Elementary School as the main activity of the program CARIBE CREATIVO (“Creative Caribbean”) of the Almendros & Corales Foundation in Manzanillo —aimed at recovering traditions and values from the cultural diversity of the Caribbean.
Garnier created the art project Bosque de las Mujeres (“Women’s Woods”) of the Tayutic Foundation in Turrialba, Costa Rica, a group performance/installation of personal empowerment involving women from the towns of Sitio de Mata and El Silencio in Turrialba and groups of women from San José. El Bosque de las Mujeres was formally opened on July 7, 2007 in primeval woods of the place. This same concept got her international invitations to Spain, Venezuela and Guatemala. That same year, she painted a mural together with Génesis next to the fire department in Santa Ana. Also the same year in November, she worked in ART TEAM Building in Las Palmas University, Las Palmas de Gran Canaria, Spain. In November 08 she was invited to participate in the VII Sculpture Symposium in Fuerteventura , Gran Canarias, Spain.
Professor, Coach and Curator
As a professor, she teaches private classes on arts and creativity at her workshop.
She is also a curator for the Fundación por el Patrimonio (“Heritage Foundation”) of the Presidential House in Costa Rica.
Garnier is the creator and coach of the concept of team building through art —making viable an encounter with oneself and “the other”, a program intended for companies and institutions.
Contemporary Dance “The last full moon”, choreography over her body of work by Sandra Torijano; staging by Ariane Garnier at Teatro de la Danza, CENAC, San Jose, C.R.
SOFA, Chicago 2008; VII Simposium of Sculpture, Puerto del Rosario, Canary Islands, Spain,2008; Maria Elena Kravetz Art Gallery, Cordoba, Argentina and VII International Biennial of Textile Art,april 2009 .
12th SOFA NEW YORK FAIR april 2009,Silvia White art Gallery , Ventura , California, the VI International bienal, Bolivia –Siart, 09, and “books of Textile artists” in Exagono Galery, Guadalajara, Mexico.