|Sara Molano began painting when, at the young age of six, her mother found her doodling on the walls of the house and quickly entered her into art classes. This was in Medellin, Colombia, where Molano was born on December 15, 1975. At 15, Molano moved to Chile’s capital, Santiago, and entered the art school Abadia.|
She found herself in her first exposition at the Palacio de la Alhambra (Fine Arts) where her work as a young new artist was praised. Her choices then were landscapes using oil, but upon her arrival in Miami Florida three years ago, Molano discovered acrylics and has been using this medium since.
With the use of acrylics, Molano also began to test herself with new techniques. She chose to paint with no relief or shadow, in a flat and static manner lending itself to her new more mature views. Her poster-like portraits of half faces are a representation of Le' humanite, or Molano’s own views of the “half being.” These half beings are those who are only minimally satisfied; they know themselves only on the surface and do not dare question. These half faces are dedicated to those whose obsession with the ephemeral aspects of their lives, like physical appearance and material gain, mock the reality that this all turns to dust in the end.
These beings, willing to succumb to knives and machines to alter their flesh, harbor frustrations with society, rules and politics and lack sensitivity to life and genuine spirit. Their half faces show clearness, color and feature, but more important are their other halves, which they hide.
Parallel to these paintings of dichotomy exist those of The Queens. The Queens are paintings of grand women with whom Molano has had the privilege of speaking and admiring. These are women who are free and independent and whose wisdom holds them at a state of perpetual nurturing, exposing their breasts. There is no room for men in these paintings since men in this particular relationship with the queens are emasculated and marginal. The reversal of traditional male/female roles leaves the man lost and thus absent.
While complex and perhaps even a bit polemic, Molano’s style and choices are ever changing and promise to show another side of her which will likely surprise us all.
Marina Pruna(Publicitas Review 2002)