Primera Casa de la Imprenta en América

By María Helena González
We sail in search of the sky, and art, the poetic image, constitutes one of our most successful attempts to reach it. The success of some creators is due, then, to the level of commitment they have with this desire: those who only discover complacency and decoration fail in the short or medium term; those who, on the other hand, check their luggage and venture up the ascent, suffer on the way but certainly reach heaven, even if it is for a moment.
Marianela de la Hoz belongs to this second category of creators and the job she does with the patience of a spider, has emerged over the years as a new chapter in contemporary Mexican art: I think I am not exaggerating when it comes to affirm that she has reinvented the very small format with her temperaments of symbolist flavor, at this point appreciated by everyone who knows art.

In this journey, De la Hoz tends to go from the particular to the general to reach a reading about the most heartbreaking human condition (it should be noted that unlike other artists of her generation, she does not insist so much on the biographical per se). : we want what the other has, not our own; we are terrified of death but we continually defy it; we cling to the material as if it were our last will and we are constant victims of our multifaceted guilt.
It is therefore the painting of Marianela de la Hoz, the result of the dialectic between the search for heaven through the inner journey and the return to the paradise of the senses.