Fanny Sanín has created a sort of counterpoint between the anticipated and the unexpected. The anticipated represents in her paintings the meticulous labor she has invested in carrying out her compositions. Fanny Sanín, then, belongs to the great tradition of abstract painters who, making reference to what Leonardo labeled ostinato rigore, chose the route of mental painting just as the legendary Leonardo himself requested. But, oddly, the great Renaissance figure also advised to discover the creative possibilities of a floor stain. The unexpected, then, follows along behind rigor. I feel that the great polyphony of colors in Fanny Sanín’s painting, whose richness may be seen in the plumage of native American birds, produces a different kind of effect: the unexpected effect of the magic that is hidden in them. In this way, Fanny Sanín does not stray from a trajectory filled with illustrious footprints. C.L. Colombian artist Fanny Sanín lives and works in New York.
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