Estrada made her first short film in 2017 entitled, The Dream, which was selected in Best of Shorts at the Carmel International Film Festival. In 2014 she won Art Slant’s Juried Competition, was a 2015 finalist for the Emerging Focus Competition, and is the 2017 winner of the ND Awards Fine Art Category. Her work is part of private and corporate collections internationally. Estrada has exhibited in galleries in the United States, Europe, and Asia. A multifarious artist, Estrada’s creative expression encompasses traditional photography, mixed media, sculpture, installation, and film. Using photography as her main visual medium, the sound of the camera's click offers her the perfect confluence between the real and the ethereal. A seeker of the spiritual, Estrada believes that every piece of art created is a self-portrait, a physical expression of that inner nameless world our soul inhabits. Estrada’s broad scope of work is a reflection of memories that she has shaped into her reality. She attended Santa Monica College and received her Certificate of Photography in 2009. Her childhood was heavily influenced by her training in classical piano and violin, which continues to inspire her aesthetic today. ![]() See for yourself through February 24.Multi-media artist Javiera Estrada was born in Mexico in 1981 and moved to the United States in 1989. The colored film applied to the glass “produces an incredibly strong effect and costs almost nothing,” he adds. So are the Triennale windows, beyond the enclosures. Yes, the galleries’ walls, floor, and vitrines are keyed to colors from red through violet. These deconstructed boxes of 170 square feet were shaped and placed “according to the position of the ceiling beams,” he explains. It occupies a 7,000-square-foot U shape, in which he built seven freestanding galleries, corresponding to the ROYG-BIV colors. The outer most partitions, in his words the “covers of the book,” are artfully wallpapered on one side in a kaleidoscope scope of overlapping shades.ĭoorways in each partition, picked out to match the end color, combine with adjacent doorways to define a path that directs visitors to the left or right, into the exhibition proper. The five internal partitions are otherwise white. Next comes an anteroom that he filled with seven 13- foot-high plywood partitions that fan out like the pages of a “blank, open book,” he says, to terminate with a strip of RO Y-G-BIV color. ![]() Visitors’ experience begins on the atrium bridge that connects the museum to the rest of the Triennale di Milano building-Novembre surfaced the bridge’s clear glass balustrades in rainbow ombré film. Novembre then assigned each to an area of focus: books, magazines, culture and politics, advertising, packaging, visual identity, signage, typefaces, and film and video. Iris, the goddess of rainbows, set the palette of ROY-G-BIV colors, plus infrared and ultraviolet. That helps explain Studio Fabio Novembre’s design for “TDM5: Grafica Italiana,” the fifth in a series at the Triennale Design Museum in Milan. “If I had a boy,” the architect adds, “he would be Rosso.” Just consider the name of his daughter Verde. ![]() Saying that Fabio Novembre has a passion for color is an understatement. ![]() Somewhere Over The Rainbow: “TDM5: Grafica Italiana” by Studio Fabio Novembre
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