After the restructuring of its international room, the Museum of Antioquia decided to complete the name of the room with that of Sophia Vari, wife of Fernando Botero, who died in May 2023, four months before Botero’s death. The Sophia Vari International Room brings together works donated by Botero to advance an idea that had become a kind of obsession for him: “I don’t want the same thing that happened to me to happen to Colombian artists today. I had to learn to paint without seeing a single original painting from outside of Latin America. “Colombians will have access to this repertoire of works from Europe and North America.”
The new name of the Room is a joint recognition of the support that Sophia Vari gave to the idea of Fernando Botero’s successive donations to the city and the Museum, and also the affection that she always expressed for the city and for Colombia as her homeland. of adoption. But it should also be the prospect for the artistic work of Sophia Vari to be better known, whom, perhaps, most of us identify only as the wife of Fernando Botero.
Sophia Vari was born in Greece in 1940, and by 1979, when she joined Fernando Botero, she already had a solid artistic training that connected her with a great diversity of cultures; and, from there, he develops his own poetic process. He recognizes his interest in the sculpture of the classical Greek era, which he later complemented with that of the ancestral cultures of America, the baroque and modern art. Although throughout more than four decades of shared life numerous dialogues must have occurred and it is even possible to imagine that there have been aesthetic disagreements, it cannot be thought that Sophia Vari’s work was dependent on that of Fernando Botero. In contrast, it is indeed easy to perceive that these are artists with very different processes.
Indeed, over the years, Fernando Botero presents a remarkable persistence in the forms of his style, with variations, as in the advancement of sculpture, but fully coherent with his essential findings, in a patient workshop work similar to the of a classic artist. Sophia Vari, on the other hand, works in an experimental way, not in a regular workshop but, in her own words, in a laboratory, with a spirit of constant changes, close to that of many modern and contemporary artists.
Thus, from figurative origins it evolves towards a free abstraction that varies between pure forms and semi-figurative evocations, with cubist, constructivist and minimalist references, to later return to figuration. They are paintings that range from oil and acrylic to watercolor, which he strangely uses on canvas, along with a certain form of fresco, through collage and Picasso crystal cubism, of geometric shapes of color that generate spaces, volumes and sensations. of movement.
His work belongs to this type of work. The root and the nightfrom 1996, a collage of paper, cardboard and wood, mounted on canvas, to which he adds interventions in charcoal that generate shadows and create depth. The work is an exercise in balance, in a complex but simultaneously occurring simple structure, in which rectangles and circular elements contrast, as well as pure lines and torn edges.
In parallel to Fernando Botero’s process, Sophia Vari also discovers in the volumes of painting the incitement for the development of sculptures in polychrome bronze, marble and alabaster, in which geometric shapes intertwine. Later, without abandoning painting, she ventured into the field of jewelry, understood, above all, as a type of very small-format sculpture with special attention to details: portable sculptures, as Sophia Vari defined them. One of his last artistic endeavors was dedicated to the towns of Colombia to express, in a semi-abstract way, the sensations he had left over from his travels through the country.
In short, a laboratory process, of permanent experimentation, of exploring hypotheses that renounce at each moment the firm ground that had been gained in the previous step. Along with the recognition given to her by the Museum of Antioquia, there remains the task of delving into the work of Sophia Vari to reflect on her own values and her peculiar position in contemporary art.
- how can the artistic legacies of Sophia Vari and Fernando Botero influence contemporary Colombian art?
Interview: Time.news Editor wiht Art Expert Dr.Elena Ruiz on the Sophia Vari International Room at the museum of Antioquia
Editor: Welcome, Dr. Ruiz! It’s a pleasure to have you here today to discuss the newly named Sophia Vari International Room at the Museum of Antioquia. This renaming encapsulates not only the legacy of Fernando Botero but also honors the artistic contributions of his wife, Sophia Vari. What are your initial thoughts on this development?
Dr. Ruiz: Thank you for having me! I find this decision to name the international room after Sophia Vari immensely significant. It highlights a dual recognition: first, the immense influence Fernando Botero had on Colombian art, and second, it brings attention to Sophia Vari as a formidable artist in her own right. For too long, she’s been overshadowed by Botero’s monumental presence.
Editor: Absolutely. Botero’s donations to the museum were driven by a desire to enrich Colombian artists’ exposure to international works. How do you think that motivation connects to the potential development of local artists today?
Dr. ruiz: Botero’s commitment speaks volumes about the nurturing habitat he wished to create for Colombian artists. by providing access to a repertoire of European and North american artworks,he sought to prevent future generations from facing the same limitations he encountered. The opportunity for Colombian artists to engage with a broader spectrum of artistic influences can cultivate a richer and more diverse art scene.
Editor: Speaking of influences, Sophia Vari’s background is quite fascinating. She comes from Greece and has a rich tapestry of cultural experiences. How do you see her unique heritage impacting her artistic expression?
Dr. Ruiz: Sophia Vari’s Greek roots and her training in diverse artistic traditions undoubtedly shaped her work. Her inclination towards classical Greek sculpture, combined with influences from ancestral American cultures and modern art, creates a distinctive style that reflects her multifaceted identity. This blend allows for an exploration of themes that resonate culturally while remaining timeless.
Editor: That’s a compelling point! In your opinion, how does the Sophia Vari International Room aim to elevate her work outside of her identity as Botero’s wife?
Dr. Ruiz: by naming the room after her,the museum encourages visitors to engage with her artistic portfolio on its own merits. It’s a starting point for art enthusiasts to not only appreciate Botero’s contributions but to also delve into Vari’s unique voice. This initiative can foster greater recognition and gratitude for her individual artistry, which has sometimes been sidelined.
Editor: It’s essential for both artists to be recognized in their entirety. You mentioned earlier that you believe they had very different artistic processes. Could you elaborate on that distinction and how it manifests in their works?
Dr. Ruiz: Certainly! While Botero is known for his signature style characterized by volumetric figures and a celebratory approach to the essence of life, Sophia Vari’s work might engage more with classical form and a nuanced exploration of space and narrative. Their dialogues, both personal and professional, likely enriched their artistic journeys, yet each developed their own unique visual language that addresses different artistic concerns.
editor: It’s captivating to consider their relationship as a catalyst for creative dialog. In a closing thought, what do you hope visitors will take away from the Sophia Vari International Room?
Dr. Ruiz: I hope that visitors come to understand the breadth of cultural and artistic contributions made by both Sophia Vari and Fernando Botero. It is indeed a marvelous opportunity to appreciate the depth of Colombian art and the stories embedded in these works. Ultimately, I hope it inspires a new generation of artists and art lovers to explore and celebrate the rich artistic tapestry of Colombia.
Editor: Thank you so much for your insights, Dr. Ruiz. The renaming of the room not only honors the legacy of two amazing artists but also sets the stage for a deeper appreciation of their individuality and collaboration. We look forward to seeing how this initiative unfolds!
Dr. Ruiz: Thank you for the conversation! I share your enthusiasm for this new chapter at the Museum of Antioquia.