The artist shows us the ultimate reality of matter, so present and yet hidden, with the enormous magnetism that her work displays.

Lourdes Naveillan surrenders to her painting with a characteristic vehemence that transports us to her own universe, expanding the boundaries of the possible.”

Solo exhibition held at Galería QUQU, from April 10 to June 18, 2019. A collection of eleven large-format acrylic on canvas and acrylic on paper works.

Exhibition presented at the University of Talca Extension Center in Santiago, September 2018.

The exhibition, “Transitar” (To Pass Through), as its name suggests, is a journey through countless recurring images in the artist’s pictorial work, reflecting her desire to create marks that invite touch, observation, and perception of matter and all the movement it entails. This process is always accompanied by vibrant color, forms, and, at the same time, a suggestive degree of abstraction. The aim of this exhibition is to enhance all the pictorial resources to create a visceral sensation that draws the viewer in. Previously, in her work, color, marks, and movements were interwoven with figures and characters emerging from them, forming a playful world. One that can unfold on its own, where its marks, textures, and colors form an independent work, based on purely pictorial work and its evocative language.

“Poetry is a celestial atrocity,” wrote the most cosmic of poets, Vicente Huidobro, at the end of his life, when he confessed in his verses that he was becoming a tree, and many other things that transform into others. Just like the work of Lourdes Naveillan, which is becoming everything the eye projects onto these images that evoke the pain and hope contained in our country. To streets occupied and then deserted, to earth, fire, air, and rain—vital elements that are Creation and Creator, artist and instrument.

Group exhibition presented at the Mammia Bretesché Art Gallery, Paris, France, in 2016.

“Opening” proposes to open a dialogue in all directions. From the work “Origin” (ceramic and copper sculpture by Macarena Salinas) to “Dialogue with Infinity” (electronic sculpture by Gonzalo Sánchez), each piece in this exhibition seeks a relationship with humanity. María Elena Naivellan’s works “Alpha” and “Omega” are a set of alphabetic signs that invite us, precisely, to understanding without borders. This is her response to intolerance.

Lourdes Naveillan brings to life the characters in her work “Couple,” and in it we appreciate the interplay of opposites: the support and the medium, the line and the mark, the micro and the macro. In Naveillan’s work, gesture is her way of working within the uncertainty of the medium.

Ambassador Project

Group exhibition at the Embassy of Chile in Paris, France, 2016, organized by Silpa Art Gallery.

The significance of this project lay not only in the individual promotion of each artist, but also in their collective ability to build a cultural fabric in tune with their time.

Silpa Art Gallery presented this group of artists, who have responded with their work to this and other initiatives representing Chilean culture abroad. They are: Sara Malinarich, Liza Marzolo, Lourdes Naveillan, María Elena Naveillan, Rachael Runner (Robot), Gonzalo Sánchez (Pikti), Manuel Terán, Jasna Tomasevic, and Sebastián Yrarrázaval.

Ultra Violeta Chant sur Toile

Group exhibition held at the Mamia Bretesché Art Gallery, Paris, France, in May 2017. Organized by Silpa Art Curators.

“Lourdes Naveillan presents one of the richest tonal scales in the exhibition, imbued with gesture and executed on stitched paper. In a more controlled manner, she employs graphic forms,” the curators stated.

Ultraviolet… A Bridge from Paris to Santiago.

This group exhibition was held at the University of Talca’s extension center in Santiago, Chile, from October 4 to November 5, 2017. It builds upon the experience of Silpa Art Curators in Paris, enriching it with new works by the twelve Chilean artists who participated in “Ultraviolet. Chant sur toile.” The exhibition was conceived as a tribute to the Chilean artist and folklorist Violeta Parra in the centenary year of her birth.

Spots, colors, water, and transparencies invite us to enter this pictorial world. They involve us little by little and plunge us into beings who play to hide and disappear behind their dresses or boasting of their flight. Spontaneity and acuity characterize this artist, who tackles painting with total freedom and rejoicing. Lourdes Naveillan leaves open the playful process and you can distinguish how she accelerates and slows down in her work, layer after layer, leaving, in the viewer ́s sight, forms that are gestated, dialogue and enjoy in a world that could be dreamlike, abstract or figurative.

She knows when to stop the process and disposes the assertive encounter. It reminds us Picasso’s old saying: «art is not searching, but finding». «. She not only finds but recreates a magical, natural, and almost naive world, where some works, with the minimum, say, or rather imply, much at once.

The artist explained that the exhibition’s title stemmed from her approach to the work: “Serial images with overlapping and impasto, along with digital prints, with which I experimented extensively with composition and the repetition of the cut-out images,” she stated.

Lourdes Naveillán emphasized that she always seeks expressions of vibrant color, activity, and interaction between images, exploring the interplay of color and the resulting visual impact on the viewer. “This exhibition is different. But it also represents a reunion of the various stages of my work,” she added.

The artist explains: “My work has been developing in the search for color and the stain. This sensitive abstraction arises from the aqueous, expanding through chance mixtures. In these, color, water, and stains, from the micro to the macro in their magnitude, have given rise to figures that flow from these alchemical accidents in the painting.

These figures oscillate between self-definition and fusion with the watery background that surrounds them. They generate a playful and harmonious atmosphere, perhaps even circus-like, where the gesture of the action and their presence have motivated me to continue exploring them. They bind, or rather intertwine, movements, subtleties, sensations, and a dialogue that allows interaction within their suggestive world.”

The show emerged during a time of urgency, upheaval, and speed, a period marked by a rapid unfolding of events. “Between Times” transcends the literal; it reflects a visceral explosion, expressing experiences represented as theatrical, playful, and colorful characters, seemingly suspended by threads. Each in their own universe, or story, they share the stains, their space, their romanticism. Water shapes the characters, and they identify with a singular, unique world in which they relate to one another, define themselves, and accompany each other.

This exhibition depicts a series of beings that expand across the paper and part of the wall, becoming a mark, a seal, an expansion of their own identity, of their own time. “They allude to past times, as well as the present. They are ‘between times,'” explains Lourdes Naveillan.