Ante cada pieza creada y serigrafiada por Guillermina Lynch, se percibe la poética de su ejecución y la arquitectura de un montaje meditado en la belleza, en el sentido en que Stendhal se refiere a ella cuando afirma "la belleza es la promesa de la felicidad".
Rosa Skific
Guillermina Lynch was born in Buenos Aires, Argentina, in 1970. Fish, flowers, lily pads, and branches were the first beings she began to render in velvet, through her own reappropriation of serigraphic technique. Starting from a unique matrix, the artist began to explore expansion and multiplication, where the material’s density and its multiple layers construct a unique, unrepeatable, and unexpected image each time. The combination of these natural elements with serigraphy sparked an obsession: to explore how far each image of these elements could continue to form. As she continued experimenting and studying, she arrived at orchids, which, with their ferocity, took prominence in Guillermina’s work. The disturbing morphologies of these flowers, along with their color combinations and unique characteristics, charted a new direction in her work, inspiring new figures, images, and morphologies. Like a garden, Guillermina’s work expands and grows across different surfaces, always with velvet as the primary support, where she seeks possible beauties in the profanation of the material.
She lives and works in Buenos Aires.
Statment
Language becomes complex and static when trying to embalm the ever-mutating work of Guillermina Lynch through words.
Her favorite tale, *Donkey Skin*, is perhaps the foundational myth of her work. Here, clothing appears as a protective mantle, a symbol of vitality and resistance. The body, covered by the animal's fat, the liquid that names the princess, ensures her survival. It is through her connection with textiles that Guillermina finds a re-semantization of her own existence. She delves into the fabric's fibers and extracts everything that exists within: the ambiguity of the sinister and the beautiful, the silent violences.
The artist works with a fusion of boundaries that burst and collapse, and this is where her unique technique emerges: serigraphic embroidery on velvet. Her pieces detach from reality to inhabit new fantasies. Shrouded in her aura, they question the ontology of what is pre-established for the fabric, the technique, and the body. Without losing its ineffable beauty, the stillness of virgin velvet transforms into a swamp.
In this reappropriation of serigraphy from a unique image, she rebels against the matrix, which deforms or disappears under the excess of material and its accumulation. Textures grow layer upon layer, and in that obscured image, there is something hidden, something that cannot be named. Like all palimpsests, it holds secrets: those moments when only the artist sees the image, until it vanishes with the next layer.
The foundation supporting these alchemical processes is velvet, where Guillermina seeks beauty in the profanation of the material through heat and layering. Governed by Thanatos, embracing darkness, it corrodes the fabric. The textile loses its cleanliness and a new identity emerges. Unknown textures, tactile landscapes, and visual universes spring from the symbiosis between the fabric and the technique. Sometimes opaque colors dominate, with a certain material load bringing them closer to a swamp than to the stillness where we observe the glimmer of fish. There is a poetic and tense dialogue achieved with the elements: the technique, the color combinations, and the rough textures that hands explore with curiosity.
The nature that the artist portrays adheres like multiple vines to the different morphologies acquired by her works. She works with a living material, adapting as the lights, shadows, and colors shift from night to morning, making the velvet elusive, like an animal that resists being tamed.
Her ominous elements multiply in sizes, colors, and textures that are limitless, not governed by any norms, growing beyond the artist's full control, like an infinite garden.
Exhibitions
2024
+ “La ferocidad de las flores” Curated guided tour in Museo Nacional de Bellas Artes, Buenos Aires.
2023
+ Teleteca, Museo del Traje in the context of Bienal Sur, Buenos Aires.
+ “Setenta y ocho más dos”, El Galpón de los Sueños, Duggan, Buenos Aires.
+ Experiencia Living. Buenos Aires.
+ Collective exhibition in Fuga V Mora, within the frame of Pinta Art Paraguay, Asunción.
2022
+ Distrito Arenales. Buenos Aires.
2020
+ Artistas responden sobre asunto del arte SUM Gallery
+ Revisitando Tarea, Pasaje 17 Gallery
2019
+ Video projection "El Descenso de Goliat" as part of Bienalita, Ruth Benzacar Gallery, Buenos Aires.
+ Territorios Emocionales, Camarones Gallery, La Paternal, Buenos Aires.
+ Textile Art Biennale, Museum of America, Madrid, Spain.
+ Reflejo Abisal (solo exhibition), Artemio Gallery, Tandil, Buenos Aires.
+ Arte en la Herencia, La Herencia, Buenos Aires
+ Tarea, Pasaje 17 Gallery, Buenos Aires.
+ Barbara Bertone Space, Rue des Artisans, Buenos Aires.
2018
+ Pensamiento Textil, Rojas Cultural Center, Buenos Aires.
+ Venice Design 2018
+ Performance as part of the exhibition Espejo de Tela, MAR Museum of Contemporary Art, Mar del Plata, Buenos Aires.
+ Celebración de Día de los Santos y los Muertos, Eduardo Sívori Museum of Fine Arts, Buenos Aires.
2017
+ London Design Fair, Londres.
+ New York Affordable Art Fair, Nueva York.
+ Blanco & Negro, AG Gallery, Buenos Aires.
+ Art Fair, La Herencia, Buenos Aires.
+ Conín Foundation, Buenos Aires.
2016
+ Open Studio, Fabiana Barreda, Buenos Aires.
+ Arte Espacio Art Fair, Buenos Aires.
+ Puertas del Bajo, Buenos Aires.
2015
+ Al Escenario, Buenos Aires.
–
Studies
2025
+ Micro Residency La Escucha, from collaboration between La Flecha del Arte and Subplataforma Educativa. Guided by Gisela Vola and Margarita García Faure. Capitan Sarmiento, Buenos Aires.
2024
+ Crafts: Some of its Current Aspects. Sustainable Textile Center. Luxury and Craftsmanship, Center for Sustainable Luxury Studies, Otra-Otro with Sustentable Textile Centre
2023
+ Conversations about... Co-constructing and analyzing different concepts within the framework of decoloniality and interculturality in design, fashion, and textiles. Another-One in strategic alliance with the Sustainable Textile Center."
+ Monsters and Sound Animals Laboratory, Peripheral Opera.
2022
+ "Monstruos y animales sonoros". Laboratorio de creación sonora performática. Chapter primavera XVIII- Ópera Periférica.
+ Sustainable Luxury Management: Luxury and Sustainability, Center for Sustainable Luxury Studies.
2020
+ Borges and Quantum Physics Cycle, MUNTREF.
+ Seminar "Art and Nature" led by Pablo LaPadula, MUNTREF.
2019
+ Seminar on "Choreographic Creation" by Daniel Goldin
+ Work Clinic led by Diana Aisenberg
2018
+ Work Clinic led by Diana Aisenberg
2017
+ Work Clinic led by Diana Aisenberg
+ Painting Workshop led by Diana Aisenberg
2016
+ Work Clinic led by Monica van Asperen and Rosa Skific
+ Individual Work Clinic led by Fabiana Barreda
+ Seminar on "Contemporary Art" by Adrián Cangi
+ Seminar on "History of Photographic Aesthetics" by Eduardo Gil
2015
+ Painting Workshop led by Laura Messing
+ Work Clinic led by Monica van Asperen and Rosa Skific
+ Experimental Screen-printing Workshop led by Rosa Skific
+ Block Printing and Natural Dyes Workshop led by Heather Moore at Jai Texart, …, India
2014
+ Screen-printing Workshop led by Constanza Martinez
+ Screen-printing Workshop led by Allison Lewinsky
+ Painting Workshop led by Laura Messing
+ Seminar on "Textile Identity" by Araceli Pourcel
+ Work Clinic led by Monica van Asperen and Rosa Skific
2013
+ Screen-printing Workshop led by Constanza Martínez and Rosa Skific
+ Fundadora & diseñadora – U-Nic.
2012
+ Painting Workshop led by Carolina Antoniadis
+ Screen-printing Workshop led by Constanza Martínez
2011
+ Seminars on "History of Art" led by Susana Smulevici
+ Seminars on "History of Fashion and Its Connection with Art" led by Marcelo Marino
2004 to 2010
+ Socia & diseñadora Lucinda – Pret a porter.
