A native of Rosario, Argentina, Gladys Nistor has been working in Paris since 1990, after studying philosophy at the Hebrew University of Jerusalem, and his diploma from the School of Fine Arts of Rosario. Very young, she won first prize at the Rosario National Salon and her work is part of the museum's collection. Many will follow collective exhibitions in successful galleries and art centers in Buenos Aires, which reflect the prolific history of those years spent in his home country. Upon her arrival in Paris, Gladys Nistor is spotted at the Salon de Montrouge where she will be invited three years in a row. Very soon, she will also be solicited by the House of Latin America. Meanwhile, she continues to perfect her training and obtains a Master's degree in Visual Arts in Paris.
At the same time, she participates in exhibitions of international dimensions, such as "Sueños concretos" in Bogota, Colombia, or "Painting Zero Degree" at the Cranbrook Art Museum, Michigan and the Cleveland Center for Contemporary Art, Ohio, in the United States and nowadays in several places in France.
I'm not a geometric artist. The question for me is: how to create emotions with a line, a point, a plane. Either on a sheet of paper, or in an architectural space.
What matters most to me about the work (mine and others) is the silent part, the sensations that take place around it, everything that is not discursive, that of the order of the ineffable.
My art ? Generate pieces and spaces that have a poetic content. Awaken the doubt, question the certainties. To provoke something of the order of disorientation.
I aspire, just like Max Bill to create "objects configured for spiritual use".
I like to think together with the Lacanian aesthetic that art borders, surrounds, something that is unspeakable, unrepresentable. Art, then, is limited to pointing to a bottomless territory, and in that sense, a "organization of the vacuum".
I use geometry to explore, to create metaphors: the provisional, the fragile, the mystery. (which is like saying life itself)
As in a psychoanalysis session, I work using the free association method. This is not the only point that I have in common with psychoanalytic practice.
Free association: a job (usually one that did not go) leads me to another. When I do a work from the beginning to the end, just as I imagined it, in general it is weak, mediocre. Like a session, where I tell my analyst exactly what I thought to tell him. They are flat and heavy sessions.
It is the irruption of something that I had not planned, something that I manage to "fish", "pluck" from the continuous flow of thought and images, which transforms work into living pieces, which manage to surprise and surpass me. Only when it is so survive.
Effective They do not get caught. Clarify the mystery Something of its ultimate meaning (me) escapes. Stubborn and disturbing in their opacity, they resist revealing themselves entirely.
And for all those who do not survive will become babbles or syllables that will feed my album of exercises. They become notes for next work.
When a work is "true" it is like a fabric that is always alive.
My works, they are all inscribed in the present. They share with the unconscious that entropy modality of a simultaneous present and past tense.
I can re-work a series that I did years ago, when I reinstalled it I returned a thread that was suspended. That is how many new versions appear.
And, just as in a psychoanalytic work one can retrace the path that led him to an association, when it was fertile and marked an axis, I remember exactly how those works were born. I remember exactly technical issues and also more spiritual issues.Many times, as in the case of the Aleph series, they are improved, they are needed.