Alejandra Seeber at Americas Society's gallery

(Photo: Michael Palma Mir)


Alejandra Seeber and the Freedom of Listening to the Creative Process

By Mariado Martínez Pérez

"It encapsulates the tension between abstraction and representation, all under one roof," writes Impulse about Americas Society's new exhibit.

Alejandra Seeber’s work revolves around ambiguity and the undefined. “I don’t settle on [the] figurative, or abstract, or whatever,” says the Argentinian artist while sitting in one of the very regal rooms of an early twentieth-century Park Avenue mansion, where the Americas Society has its headquarters. As part of the presentation of her solo exhibition, Interior with Landscapes, together with artists Annette Wehrhahn and Fabienne Lasserre, Seeber is discussing how New York’s art scene looked when they first moved to the city in the late ’90s and early 2000s—“when Williamsburg was still affordable,” they say while laughing.

As she makes the statement about not settling for a particular artistic movement, there’s a carousel with images of her vibrant, colorful work sliding behind her. We can see her “Black Grass” series, which represents her approach to Abstract Expressionism in painting; her figurative representation of the architectural composition of a bedroom in Le Corbusier Tropical (2008); a direct written message on canvas: “cuidado con la pintura” (careful with the painting) in Cuidado con la pintura a.k.a la (mi) Peralta Ramos (2011) from her “Words” series; and then back to abstract landscapes mixed with a clear-cut depiction of home decor elements in various images of her “Rorschach” series.

She is, indeed, not stuck in a particular movement. [...]

Painting, textiles in the form of rugs, and ceramics are the elements that construct the exhibition environment. Seeber says: “I like how playing with each one of the techniques helps me progress within the technique itself. It’s like a dialogue.” Painting acts as the axis and the central landscape that serves to merge the interior with the exterior. This tendency is seen in pieces like La Bourgeoisie (2010), which depicts a typical upper-middle-class living room; Black Grass Yellow Wave (2022), an abstract composition of leaves and flowers in an exterior setting; or InExterior (Chandelier) (2014), which blends the interior and exterior through a tropical landscape seen through what seems to be a big window or a porch.

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