María de la Paz Jaramillo, known as Maripaz Jaramillo (born 1948) is a Colombian artist, mainly in painting, born in Manizales, Caldas and graduated in Fine Arts from the University of the Andes.1 She is considered one of The main representatives of the Colombian expressionist movement.
From his adolescence Maripaz was interested in different artistic manifestations, from the design of fashions to the sculpture, through the engraving and the painting, art that would make it known. She studied high school in England, after being expelled from two schools in Bogota. Later I started studies of modeling and fashion design at Lucy Clayton School.
In 1968 he returned to Bogota, where he married the architect Benjamín Barney, and entered the University of the Andes to study Fine Arts. At the university, he had several controversies with his professors, among them Juan Antonio Roda, Juan Cárdenas , Carlos Rojas González and Luis Caballero Holguín, since he refused to paint the still lifes they asked for in his classes; She preferred to escape such guidelines and be carried away by the pursuit of her personal stamp.4 In 1973 she graduated as a plastic artist. He then attends the art workshops of Stanley William Hayter in Paris, Luis Camnitzer in Italy and the Chelsea Art School.
The artistic production of Maripaz Jaramillo is characterized by the use of strong colors and the lack of fineness in the strokes, it distances itself from the formal beauty and the academic demands, its rough and colorful drawing has often been described as "deficient" by the review; Nevertheless the artist has not tried to improve its technique, since it does not seek with its work to replicate the reality but to interpret it exaggerating it and shortening it.6
Sensuality has been a constant in the work of the artist, initially in women who were usually with their breasts uncovered and more recently has been dedicated to painting couples in different contexts between which the desire is inocultable. Some commentators categorize their work as expressionism with critical dyes because it problematizes reality, but Maripaz herself says that they see in her work a political background that she does not really seek.2
In the last exhibition of Maripaz Jaramillo titled Ellas, the feminine silhouettes that 30 years ago I explore in the series The objects and the trades of the woman and The machine of the life. Showing his style in Alonso Garcés Gallery with this new series, where about 30 women take this space. No longer are those adventurous movements of their choreographies, kisses or hugs that impact but their assumed loneliness worked by their professional experience, where he chooses the best in hairstyles, clothes in the style of fashion show, demarcating his elegance and haughtiness. By participating and visualizing in these works you can appreciate the color and form, space and body, visual shock and harmony that encloses the woman in a space in the middle of nature. She sees her transcendence and her great love for painting as she characterizes it in her interviews during her professional career.
Sample of young artists of the Museum La Tertulia de Cali, 1972.
Projects an exhibition of engraving in the Museum of Modern Art of Bogotá, 1979.