← Back to all artists

Lucía Vidales

(b. 1986, Mexico City)

Lucía Vidales lives and works in Mexico.

Vidales has exhibited extensively in Mexico as well as internationally. Recent solo exhibitions include: Sudor Frío, PROXYCO, New York (2021); Manoteta, PEANA, Monterrey, Mexico (2021); To cool the blue, Taka Ishii Gallery Ph / F, Tokyo (2020); Noche durante el día, Sala Gam, Galería de Arte Mexicano, Mexico City (2019); Come as you are, House of Deslave, Tijuana (2019); and Cuerpo de esta sombra, Galería Alterna, Mexico City (2018). Notable recent group exhibitions include: Four Women Painters at the Crossroads, Sapar Contemporary (at Piero Atchugarry Gallery), Miami (2020–21); Murales para un cubo blanco, Sala de Arte Público Siqueiros, Mexico City (2020); Daichi Takagi, Lucia Vidales, Hiroka Yamashita, Taka Ishii, Tokyo (2020); and City Prince/sses, Palais de Tokyo, Paris (2019).

Vidales earned an MFA in 2014 at the National Autonomous University of Mexico, Faculty of Art and Design, in Mexico City; and a BFA in 2009 from La Esmeralda National School of Painting, Sculpture, and Printmaking of the National Institute of Fine Arts, Mexico City. She is currently an Art Professor at University UDEM and has been awarded three times with the Jovenes Creadores grant by the Secretaría de Cultura, Mexico.

Lucía Vidales´s work is concerned, above all, with painting. The body is recurrent as figure, as the painted gaze, and as the painting itself. Fragmented limbs often seem to emerge from, or sink into, the luminous or shadowy depths of her painterly surfaces. For Vidales, painting can transform time, our relationship with matter, and how we experience our own bodies. She is interested in a liminal and polyvalent use of color, and a fluid relationship with drawing — as evidenced by the layered remains of decision after decision, which are by turns sedimented in the work’s material surface, or invisibly erased, or still pending. Vidales’s work is informed by the consequences of historical and colonial imaginaries as they continue to impact actual bodies and the body of painting itself. The beings that populate her paintings suggest the potential for confrontation, but seldom follow through. Instead they play with humor or anxiety, or seek consolation from ancient wounds.

CV