Leslie Gabaldon (B. 1964) is a Venezuelan-American artist who works in Miami, FL. She attended The New England School of Art & Design in Boston, MA, and The Art Students League of NY. She focused her attention in new media since 1988 (being among the first artists in the USA to experiment with computer-generated work, shown at Sygraph. 1990 (Boston, MA). Her tendencies towards alternate mediums eventually lead her to embrace photography as the foundation of her work.
Gabaldon’s ideas stem from concepts of sociological memory, especially pertaining to women’s issues in the contemporary world. Her fascination for the written word, not only as a means to communicate ideas but also as aesthetic elements, is evident in her body of work, exquisitely merging images and text to form visual poetry. This can be particularly characteristic in her series “Ink on Roses”* that was successfully received in ArteBa (Buenos Aires, Argentina), Artbo (Bogota, Colombia) Art Miami and Art Huston
Meticulously focused on the craftsmanship of her work, Leslie has developed a sharp skill in digital printmaking; she controls the production of her own photographs making it a crucial part of her process. As a result, she founded Wynwood Editions, a boutique style contemporary photography printing service for other artists. She is also, an Independent art publisher of limited edition photographs of internationally known artists. She has shown her work in New York, Miami, Colombia, Argentina, Dominican Republic, and Shanghai. Her work is represented in Miami by the prestigious Dot Fityone Gallery.
* A series of hand written roses with segments of poems by Benedetti and Neruda
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Statement / A Visual Register of Unavoidable Thoughts
Photography creates a figurative distance between our existence and the subject of the image that we see; it can cause pain, indifference, or please our eye. Still, there is an intriguing relationship between us, as moving beings, and the motionless contents of an image. My purpose is to give the viewer a chance to stop in front of his or her own intimacies through my images, and simply reflect.
There is a subtle meaning hiding in the image that we know but can’t explain very often, the underlying thought that is triggered by a visual spur, the feeling of things we see and can’t avoid connecting with.
Continuing with the storyline as a visual language, I take up narrative and convey as message. I often find myself in front of images that are full of evidence of our own humanity; love, time, relationships, and other aspects of spirituality that converge in my work— a visual register of unavoidable thoughts.
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