Born in Guayaquil, Ecuador, 1986. Raquel Echanique lives and works in New York.
Selected Solo Exhibitions:
2007 ‘Talking Apparatus to Look at With Glasses’,
Museum of Fine Arts Pedro E. Martinez, Argentina;
2013 ‘Sequence of Bases’, The Mooney Center Gallery, New York; ‘Red’, Plush, New York;
2014 ‘Chain Reaction’, Spinelli Galleries, New York & Shanghai; ‘Vortex’, Rebelution Ink, New York.
2012 ‘Double Stranded’, Phantom, New York.
Selected Group Exhibitions:
2006 ‘Annual Art Exhibition Salon Mariano Aguilera’, Museum Centro Cultural Metropolitano, Ecuador;
2013 ‘Bowl of Mixed Art’, Fountain Art Fair, Armory, New York;
2014 ‘Hogarth Worldwide Biannual’, New York; ‘Mas es Mas’, Museum of Contemporary Art, Centro de Arte Contemporaneo de Quito;
‘INTERBIFEP,The International Biennial of Portrait’, Bosnia y Herzegovina;
‘Diver Up Showdown’ Stray Kat Gallery, Meatpacking District, New York;
2015 LustforLife campaign and auction, benefiting Lifebeat, Music Fights AIDS, Urban Outfitters Herald Square,
New York. Publications: Full illustration of the book of poems ‘Descartes’ by Mangiante Marcelo, Argentina. Permanent Collection: Museo Municipal, Guayaquil, Ecuador.
Raquel’s commissioned murals can be found around the streets of New York.
I assemble disordered portrait scenarios that disturb almost as much as they comfort us. My subjects don’t believe in gravity: they are lifted by strings that are often extensions of their own structure. Every part of their built faces seems to be knitted by a centrifugal force that enters the scene like a chaotic Prometheus. My distinctive visual style is characterized by circular motioned brushwork that bursts polychromatic energy. My portraits are stirred up by swirls that pull, twine, divide and modify anatomy in different directions, resulting in a sight of hypnotic relaxation. Muscles get knitted from underneath and over the skin to show fully constructed areas; eyes, nose and mouth. Most of my works explore aggressive as gestures as we experience in my title Nebula, The Sugar Powdered Princess (2014). In a similar spirit, paintings like Jillian's Vortex (2014) and Galilea (2014), show an out of the headlines appreciation for the spotlight they have decided to live with. What is both challenging and refreshing are the ways in which I have prepared this cocktail of abstraction, representation and realism to approach to the psychological and aesthetic characteristic of the beings, while preserving shapes that can be found in their internal system. More than ever, I enjoy giving every stroke a very different direction with precision, to register them separately so that the viewer can unveil the clear canvas where the action emerges from.