Irma Dos Santos

Personal Details
Name: Irma DOS SANTOS
Address: Avenida Belgrano 342. Piso 3. Apto. 36. Buenos Aires, 1092. Argentina.
Home Phone: 54-11-4343-9479
e-mail:


Qualifications and Experience

1959-64: Bellas Artes "Carlos Morel" de Quilmes, provincia de Buenos Aires.
Since 1964 she has participated in both individual and collective exhibits.
1970 to 2001: Lived in Caracas, Venezuela, where she developed her art.
1981-2: Field study in Europe.
2001: She moved to Buenos Aires, Argentina.
She has exhibited in Argentina, Venezuela, Colombia, France and the U.S.A.
Her paintings can be found in private collections in Venezuela, Argentina, Colombia, France and Italy.

Individual Exhibitions

1992.- Galeria Bass, Caracas, Venezuela
Galería Viva México, Caracas, Venezuela
1981.- Au Salón Permanent, París, Francia
Country Club, Barquisimeto, Venezuela
1980.- Centro de Arte Euroamericano, Caracas, Venezuela
1979.- Galería El Callejón, Santa Fé de Bogotá, Colombia
Ateneo de Valencia, Valencia, Venezuela
Galería Banfocove, Barquisimeto, Venezuela
1979.- Galería "G", Caracas, Venezuela
1977.- Galería Durban, Caracas, Venezuela
Galería Los Girasoles, Maracaibo, Venezuela
Galería Durban, Barquisimeto, Venezuela
1976.- Galería Maraven, Caracas, Venezuela
1975.- Galería Framauro, Caracas, Venezuela
Galería Tolouse Lautrec, Maracaibo, Venezuela
1967.- Art Center Gallery, Miami, Florida

Group Exhibitions

1991.- Galería Viva México, Caracas, Venezuela
1986.- Centro de arte Euroamericano, Caracas, Venezuela
1984.- Salón de Arte La Rinconada Caracas, Venezuela
1982.- Fundación Oro Negro, Caracas, Venezuela
1981.- Salón Arturo Michelena, Valencia, Venezuela
1972.- Feria de las Artes, Buenos Aires, Argentina
1968.- Cooperativa de Crédito Quilmes, Buenos Aires, Argentina
1964.- Salón de Estudiantes de Bellas Artes, Quilmes, Buenos Aires

About Her Previous Work
(Her is work is not limited by the geometrical, flat or dimensional space, but by a poetic space, a consciousness of infinity for which the canvas does not signal borders or limits, instead it serves as a window, a totality that can be recreated each time one glances at the paintings. The silence, as well as other elements such as air and light, lives in the canvases as part of a ritual that serves as communication bridge with the spectator. The same occurs with the characters that keep a harmonious and intimate relationship between the physical and psychological space they generate.)
Matilde Daviú, (critic and professor of fine arts, Caracas,1992)

(Elongated women occupy the scene but not in procession, silently they interrogate the vast surrounding silence, so perfect that can be touched, as the rags of solitude that extend the fabrics enveloping the bodies.
The artist’s hand enquires without being exceedingly detailed -only the precise and necessary ones are included-in a theater where what counts, more than the entrances and exits determined by the circumstances, is the central argument which is no other that everyday life and its specific place in space where there is still a sense of reality inside a fantastic context.)
(Rafael Pineda, art critic, Caracas, 1982)

(Luminous fields limit spaces that often escape towards infinity. Labyrinths, naive trees, shades, fields were there is almost always a woman present, perhaps a real presence, perhaps the distant image of someone searching in a limitless solitude. Scraps of a naive surrealism that does not go beyond a mirage, forcing the observer to make up, inside that magical world of monastic architecture, ghostly visions that await to come from behind the walls in dramatic solitude and mystery.)
Fruto Vivas (architect, Caracas, 1978)