Abstraction in Action Soledad Arias: Luminous https://abstractioninaction.com/happenings/soledad-arias-luminous/


Artists: August Muth, Regine Schumann, Soledad Arias, Ariane Roesch, and Myke Venable.

November 12 – December 31, 2016
Gallery Sonja Roesch
Houston, TX

The show consists of five artists whose work collectively examines phenomenological experience through the use of luminescent light and color. The gallery is overcome by a strong luminous presence, shifting perceptions of space and enhancing sensory experience through the use of minimally reductive materials. Objects in space recede and advance while colored fluorescent light mixes to create visual reflections and overlays.

The minimally reductive nature of each artwork leads to infinite possibilities of thought, evoking memory and familiarity while linking past to present. “Luminous” embodies the mystic creation of light and color; the varied results of each work push our perceptions and bring the fundamental act of seeing into the limelight.

November 17, 2016 Soledad Arias: Some more or less distant realities https://abstractioninaction.com/happenings/soledad-arias-less-distant-realities/


Artists: Jin-me Yoon, Faye HeavyShield, Terry Frost, T. R. Uthco and Ant Farm, Shelley Niro, Soledad Arias, Laura Vickerson.

Soledad Arias: Some more or less distant realities
July 11-September 5, 2016
Walter Phillips Gallery, Satellite Space
Alberta, Canada

The exhibition comprises works from the Walter Phillips Gallery permanent collection, which was founded in 1977. Echoing the logic of Breton’s idea of the image, Some more or less distant realities is curated using the exquisite corpse method—a Surrealist technique employed to create (poems, images) collectively. Multiple individuals such as curators, artists and arts workers have selected the works in this exhibition through a process of sequential choices.


September 16, 2016 Soledad Arias: The Weight of Light https://abstractioninaction.com/happenings/soledad-arias-weight-light/


Artists: Fariba Abedin, Adela Andea, Soledad Arias and Lorraine Tady.

The Weight of Light
December 5, 2015- January 2, 2016
Rudolph Blume Fine Art / ArtScan Gallery
Houston, TX, USA

The visible light spectrum is quite dramatic and holds all the colors that humans can see; a beam of white light is made up of all the colors. Visible light is composed of photons, which are the most abundant particles in the universe. These weight-less particles have the ability to form a stream or wave-like pattern that makes up the wavelengths of the Electromagnetic Spectrum. Contrast of hue, in painting, enables the painter to establish the interplay of luminous forces. Black and white are the artist’s strongest tools to express darkness and light, but with the advancement in harnessing different light particles, neon and LED lights are new and exciting instruments.This exhibition explores and juxtaposes the visual parameters of light as a physical presence and asa symbolic conjecture.

Soledad Arias’ work has been exhibited extensively in museums throughout the US and South America. Her wall based neon sculptures engage the viewer with mostly trivial, yet emotionally charged words like “white lies” or “like you i forgot”. The impact of the brilliant luminescence and the halo effect of the neon writing potentially transforms the immanence and perception of these phrases.

December 3, 2015 Soledad Arias https://abstractioninaction.com/artists/soledad-arias/

I explore the materiality of language, the phonetic, visual and poetic dimensions of a text or a word as a two-and three-dimensional entity in the context of human relations. I am drawn to what lies among the uttered and the suppressed. For thinking dictates form, a line, an accent, the cadence of silence, all form narratives both in drawing and language. I expose the intersection of the aural and the visual, one where words, text and involuntary sounds are transformed into a visible, physical form. Eventually words are muffled, subtracted, removed from speech, configuring blocks or silent pauses. In acoustic wall #1 what appears like voiceless theater notations (images 1-2) confronts the viewer with vinyl text phrases (“she whispers to herself,” “quite loud this time,” “faint pause,” “stops herself”) which stretch across a twenty-seven feet wall. In phonetic neon [aha], 2011,(image 3) I distill down the excess of language to make apparent an unintentional sound. Aha outlines a sonorous pause, an involuntary gap in between words. Four, thirty-three, 2011,  (image 4) 1 minute=1 inch, evokes John Cage’s statement that silence is not acoustic, highlighting physically the activity of sound in an environment. Snippets (images 7-10) is a collection of videos of an average duration of 1 minute, of everyday situations that seem to have gone astray. An elevator stops between floors, a woman whispers to herself, a child fumbles for words.  Disembodied characters are aware of their absurd fate, while they do not exist except in the viewer’s imagination. Yet at the end it is all the same, what we don’t see is just as important as what we perceive. Technically these silent subtitled narratives that derive from my writing fade—in and out—on a black slate devoid or other images. Drawn from the video’s discarded sound, recorded words vibrate in inaudible patterns, becoming the graphic representation of the cadence of my voice.

Traducido del inglés

Exploro la materialidad del lenguaje, las dimensiones fonéticas visuales y poéticas de un texto o de una palabra como entidad bidimensional y tridimensional en el contexto de las relaciones humanas. Me atrae aquello que se encuentra entre lo pronunciado y lo reprimido.  Debido a que el pensamiento dicta la forma, una línea, un acento, la cadencia del silencio, todos conforman narrativas en el dibujo y en el lenguaje. Revelo la intersección de lo aural y lo visual; donde las palabras, el texto y los sonidos involuntarios se transforman en formas visibles y físicas. Eventualmente las palabras se reprimen, se substraen, se remueven del habla, configurando bloques de pausas silenciosas.   En pared acustica #1(acoustic wall #1), lo que aparentan ser notaciones teatrales sin voz (imágenes 1-2), confrontan al espectador con frases de texto en vinilo (“susurra a sí misma”, “muy alto esta vez”, “tenue pausa”, “se detiene a si misma”), las cuales se extienden a lo largo de un muro de más de ocho metros. En neón fonético [aha] 2011 (phonetic neon[aha])  (imagen 3), depuro el exceso del lenguaje para revelar un sonido accidental. Aha destaca una pausa sonora, un espacio involuntario entre palabras. Cuatro, treinta y tres, 2011 (four thirty-three)(imagen 4), 1 minuto = 1 pulgada, evoca la declaración de John Cage de que el silencio no es acústico, enfatizando físicamente la actividad del sonido en un ambiente.   Breves (snippets) (imagenes 7-10) es una colección de videos con una duración promedio de un minuto, de situaciones cotidianas que parecen estar fuera de control. Un elevador se para entre pisos, una mujer se susurra a sí misma, un niño balbucea en busca de palabras. Personajes incorpóreos se percatan de su destino absurdo, mientras que no existen excepto en la imaginación del espectador. Sin embargo al final todo es lo mismo, lo que no vemos es igual de importante de lo que percibimos. Técnicamente estas narrativas subtituladas silentes que provienen de mi escritura, se desvanecen (por dentro y por fuera) en un fondo negro, carente de otras imágenes. Procedentes del sonido descartado del video, palabras grabadas vibran visualmente en patrones inaudibles, convirtiéndose en representaciones gráficas de la cadencia de mi voz.

Selected Biographical Information

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October 4, 2013