Beatriz Glez Sa

Beatriz Glez Sa

Location: Spain

Beatriz Glez Sa is an interdisciplinary artist. She graduated in Fine Arts /MFA/ from Barcelona University (UB). MA(Ed) Secondary Education (UPC) and MFA Graphic Design. She was awarded a scholarship to study Photography at Nottingham Trent University (UK). She obtained the European “Leonardo Da Vinci” grant for professional training in the UK.

She has been working using art with Alzheimer's patients. The importance of art in health, the development of art and creativity in education, science, ecology, identity, gender, cultural representations and other social matters are often reviewed in her work.

She is interested in documentary photography, photojournalism, conceptual, fashion, and product photography, among others.

Her work has been Published internationally in magazines and books and it also has been awarded by;
IPOTY - International Photographer of the year- (UK) Honorable Mention 2017. TGA- The Gala Awards, (UK); 10Th Edition of The Julia Margaret Cameron Award, Finalist 2017. Neutral Density Photography Awards,(USA); Two Honorable Mentions 2017, Honorable Mention 2016, First Place and Gold Star award 2015. IPA (International Photo Awards); Two Honorable Mentions 2017, Fine Arts Photography awards (UK); 2015, 2016 _(4 awards) 2017 and_(3 awards) 2018. Photographer's Forum Magazine (USA): Finalist for "Best of Photography" 2015, 2016 and 2017.

www.beatrizglezsa.com

Facebook page: https://www.facebook.com/beatrizglezsa
Instagram: https://instagram.com/beatriz_glez_sa/
Twitter: https://twitter.com/beatrizglezsa

Some other hosted Portfolios;

LensCulture: https://www.lensculture.com/beatriz-glez-sa

PhotoVogue, Vogue italia: http://www.vogue.it/photovogue/portfolio/?id=21668

Portfolio and Prints: https://www.saatchiart.com/BeatrizGlezSa


Portfolio:

IPSEITY

IPSEITY

The borders drawn in our mind. Constructed identities fluctuating and flexible as water.

Layers that clothe and shape us or imprison us, reflections of our surroundings that we assimilate and mirroring as our own.

Variable identities, such as the clothes that cover our body, help us to adapt to the environment, to find our way, to recognise our uniqueness, nevertheless, when these fictitious identities are fixed, clothes become immovable skins, huge problems arise, we begin to dwell in a body suffocated by external and internal impositions acquired by relational habits.

The only escape lies in the search and encounter with the only invariable. A difference and essential uniqueness.

Ipseity, from where creativity can arise.

Ipseity is a term used in neuroscience and contemporary psychology to describe the vital experience without the trappings of constructed identities. Our nuclear conscious being.

A process of discovering layers of ornamentation and artificial clothing. An allegorical project on identity. When constructed identities constrain us instead of helping us adapt to new situations, and how the awareness of the "Ipseity" our nuclear being means a new experience from where creation can arise. A liberation.

EROS & PSYQUE. A contemporary representation

The project revisits the emblematic myth of Eros and Psyche in Greco-Roman mythology.

It is one of the most prolifically represented myths in the history of Western Art and has contributed to the conceptual foundations of romanticism and heterosexual relationships in the West.

"We believe in an imaginary order, not because it is an objective truth but because believing in it enables us to cooperate effectively" Yuval Noah Harari

Greco-Roman mythology was first created and transmitted orally and later in written form by white European men.

The diffusion of these myths, like all stories, depends on them being "felt" and on their societal resonance – only thus will they endure – and, to the extent that they are retold they will be assimilated in patterns of acceptable behavior and organization.

Myth helps us preserve the established social order and its existence depends on many people’s belief; if people stop believing, myths will no longer be perpetuated.

For this Project, one must seek a literal representation of the story as written by Apuleius in an environment that emulates a Renaissance “Locus amoenus” – underwater.

The idealization and placidity represented historically is confronted with a contemporary literal representation that evokes the aesthetics of classicism.

The myth, not only reveals an account of the cultural past, it is also an organizational and hierarchical paradigm represented repeatedly and “de facto” up to the present day.

Reflections around the creative process.

A sea of ​​possibilities from the essential difference.
This project is constitutes by a series of conceptual portraits that develops what, from my experience, could describe visually, the process of creation; The formation of ideas and structures, inspiration and creation of the artistic work.

These series become an observation, exploration and self-awareness of the personal symbology present in my whole artwork, a language in continuos evolution.

An artwork that reflects on the very process that gave rise to itself.

CREATING DANCE UNDERWATER

This is a project that explores the healing process of a given illness, and the path to optimal health.

It shows a visual and experimental metaphor of the experience of people with a physical and / or psychological illness, or in a degenerative process.

Creativity is shown as a fundamental and necessary characteristic when adapting to a new environment, or to physical and psychological characteristics different to those known previously.

The process of continuous adaptation is implicit in the creative process. The acquisition of new skills is necessary, like those acquired when learning to dance underwater. This is the same process that must be undertaken to relearn lost skills when we recover from a physical or mental illness.

Professional dancers will have to adapt their skills to the underwater environment to illustrate a metaphor which is experimental for themselves, and visual for the viewer.

Dance is used as a symbol to represent the steps to take, both to start the creative process and achieve and develop our creativity and resilience.

1.Butoh “1.Butoh ”

An allegory of conscious acceptance of suffering in order to transcend it

2. Butoh “2. Butoh”

An allegory of conscious acceptance of suffering in order to transcend it

BURLESQUE/CABARET “BURLESQUE/CABARET”

An allegory of rejection of social repression and external wrong guidelines.

BURLESQUE/CABARET “BURLESQUE/CABARET”

An allegory of rejection of social repression and external wrong guidelines.

BURLESQUE/CABARET “BURLESQUE/CABARET ”

An allegory of rejection of social repression and external wrong guidelines.

CLASSIC BALLET “CLASSIC BALLET ”

An allegory of the importance and necessity of commitment, discipline and hard work.

CLASSIC BALLET “CLASSIC BALLET ”

CLASSIC BALLET
An allegory of the importance and necessity of commitment, discipline and hard work.

TRADITIONAL INDIAN DANCES “TRADITIONAL INDIAN DANCES”

An allegory of the importance and necessity of the training the mind and body.

TRADITIONAL INDIAN DANCES “TRADITIONAL INDIAN DANCES ”

An allegory of the importance and necessity of the training the mind and body.

Mindfulness “Mindfulness ”

An allegory of the importance and necessity of the training the mind.

RAKS SHARKI “RAKS SHARKI”

Dance of fertility/creation. An allegory of the creative process, and the inner connection that we need for it.

RAKS SHARKI “RAKS SHARKI ”

Dance of fertility/creation. An allegory of the creative process, and the inner connection that we need for it.

CONTEMPORARY DANCE “CONTEMPORARY DANCE ”

An allegory of the Creative "Flow" (Mihaly Csikszentmihalyi's concept), and the "Prosoche", the Creative Moment. Consciousness.

CONTEMPORARY DANCE “CONTEMPORARY DANCE ”

An allegory of the Creative "Flow" (Mihaly Csikszentmihalyi's concept), and the "Prosoche", the Creative Moment. Consciousness.

CONTEMPORARY DANCE “CONTEMPORARY DANCE ”

An allegory of the Creative "Flow" (Mihaly Csikszentmihalyi's concept), and the "Prosoche", the Creative Moment. Consciousness.

CONTEMPORARY DANCE “CONTEMPORARY DANCE ”

An allegory of the Creative "Flow" (Mihaly Csikszentmihalyi's concept), and the "Prosoche", the Creative Moment. Consciousness.

CONTEMPORARY DANCE “CONTEMPORARY DANCE”

An allegory of the Creative "Flow" (Mihaly Csikszentmihalyi's concept), and the "Prosoche", the Creative Moment. Consciousness.

CONTEMPORARY DANCE “CONTEMPORARY DANCE ”

An allegory of the Creative "Flow" (Mihaly Csikszentmihalyi's concept), and the "Prosoche", the Creative Moment. Consciousness.

SCENES BEHIND SCENES

"Scenes behind scenes".

In this photo essay I approach the subject of "behind the scenes" with the intention, not so much to explain the elaboration of projects but to show the process of creation from a personal perspective.

This work rise based in a desire to transmit the experience from the physical and psychological point of view from the authorship, wanting to emphasize concrete moments of realization and special feelings transmitted by a collection of images that transmit dynamism in a "balanced imbalance”, random, by serendipity and intentional or abstract photos that document a subjective process.

The subjects that are part of it are both the dancers who collaborate and, myself, the photographer, with self portraits, and fractions of my body in the same plane as the dancer, thus evidencing a captured and frozen moments of the collaborative relationship in the process.

The effort and work of the dancers in the water, that becomes the medium and shared element that transforms the experience, in the same way that it curves, blends and modifies light and forms as well as creates pictorial chromatic aberrations in the images.

Visual implicit dynamics evince explicitly a constant movement and dynamism in underwater projects.

PROSOCHE. An aesthetic experience of dance

"Prosoche" is the maintained attention that guides/facilitate the creation, attention focused on the moment and the connection.

Decisive moments, a progression of instants and captures of relationship in the process of creation that will become a complete work in permanent transformation.

Frozen actions in fugues and fleeting frames, which revive a dance magnifying the vividness, the force, the colour, the natural environment, the prosoche; a fragmentation orchestrated and received in a new compound of photographic creation.

"Prosoche" is the term used in Stoic philosophy to refer to the attitude and constant practice of "mindfulness".
"Prosoche" is necessary to capture the photograph, in the same fashion as creating the dance, which in the end forms part of the aesthetic experience.

With Henri Cartier-Bresson in mind, this photo essay constitutes a collection of different "decisive moments" in progression. It is a confluence between two decisive instants of creation: dance and photography.

Underwater dance perfectly materializes the representation of prosoche, the only mental state where creation is possible.

Thus, the dance with its perfect forms could well symbolize all the arts, and therefore, the potentiality of creation and the infinite possibilities that the creative process entails.

The prosoche is obtained with the conjunction of discipline, training and effort, giving way to a state of mind that enables moments of creation, an optimal state.
Sustained attention to the work transmits, through the empathic nature of the creation of art, the aesthetic experience and potentially generates that optimal state in the viewer.

Observing works with attention - that is with "Prosoche" - grants the observer a mental state from where "everything is possible"; it is a gateway to the infinite possibilities of creation.

INSURGENT OPHELIA. A contemporary representation.

The Shakespearean character of Ophelia is immensely complex, and as opposed to other characters, reveals social dynamics that describe the underlying reality of an entire era.

Ophelia becomes emotionally unstable when she is faced with conflict between her father’s dictates and those of her beloved Hamlet.

Ophelia’s induced madness becomes more dramatic when compared to the feigned madness of Hamlet.

At no time does this fragile adolescent set out to follow her own will, since she lacks such will as a consequence of it being strongly repressed by the social structure of the time.

A passive death seems to be the only way out, and even so wasn’t a choice either. Let herself go without even avoiding to die drowned was some sort of fate for her. No will nor identity was present, there was no individual.

Elisabeth Siddall, painter, poet, and eventually model, poses for Millais in icy waters and contracted severe pneumonia as a result. Siddall commits suicide with laudanum in response to the infidelities of Rossetti, her husband. The ghost of Ophelia materialises in the abandonment and death that traps this artist in tragedy.

The repeated representations make their way into our unconscious, accompanying us on the journey of life as omnipresent ghosts. They remind us of what is acceptable to society, and therefore, what we must emulate to survive in an organised society.

In this project, Ophelia rebels against the destiny previously imposed on her and accepted by her.
In this new representation, Ophelia does not rise up in belligerent opposition to tradition or in a fight against persistent ideals, but in a blooming of consciousness, an awakening of awareness of her own responsibility for her life, her emotions, her psyche and her destiny.

Thus, a change of perception arises, and in spite of continuing in the same life situation, surrounded by old liquefied structures, these give way and become blurred in tenuous glazes that float around, no longer important or authoritative. The change of consciousness generated at will makes possible a new future.

https://beatrizglezsa.com/insurgent-ophelia-a-contemporary-representation/