“As contemporary art finds itself in a crossroads, Mary Brandt has already chosen a certain path offered by her new works. Feeling the exhaustion –together with many other artists- of the overwhelming naturalistic and figurative tradition, she wants to travel to anew land of symbols inventions and forms that do not necessarily correlate to nature. But differentiating herself from the pure abstractionists followers of Mondrian she will not compromise these new forms to a compulsive mathematical scheme. Loyal to her blood which mixes the Creole with a distant Germanic ancestry she prefers a more lyrical and musical language to a strictly geometrical one”.
Mariano Picon Salas. Caracas 1957.
“If we were to classify the actual works of Mary Brandt presented at the Museum today as a result of several months of work; we would find an useless definition of an invented formula. Considering the will to use color in a gesture of passion we could talk about expressionism, one could also point out a certain will of building making the serious understanding of the problems of the geometrical abstractionism present; one could also refer to calligraphic signs entangled with an ambitious desire of making the oriental school of painting hers; and one could also insinuate the acceptance of the informalist’s temptation considering the free traces and the thick textures.
The truth is that the personality of Mary Brandt expresses many rich experiences from the actual painting movements of the world , not leaving out the possibility of showing in the canvas the presence of a hazardous reality which actually springs from the concious choice of the clearest freedom of expression.”
Guillermo Meneses.1963 Caracas.
“To search for influences in this exhibition of Mary Brandt is pointless. It is enough to say that in the works she exhibits today , the artist undertakes with a pendular movement, from the bust of color to the absence of color, from the flat surface to unexpected hights and plays a subtle game with space, a hide and seek without tricks, as if one puts traps on oneself and never gets trapped by them. The incorporation- never decorative- of objects in the canvas is another side of this game of light and shadow, open and closed through which Mary Brandt an authentic artist, manifests herself in this show.”
Sofia Imber. Objetos Inutiles 1972
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