Nancy Friedemann-Sánchez

Nancy Friedemann-Sánchez

  • ABOUT
  • CV
  • MESTIZA DOS VECES: A VISUAL NOVEL
  • Chapter 9: Dream Map and Cornucopia
  • Chapter 8: ¡Mamita la Mestiza me Llama!
  • Chapter 7: Panopticon, A Collaborative Chapter with Charley Friedman
  • Chapter 6: Casta Paintings
  • Chapter 5: River
  • Chapter 4: Cornucopia
  • Chapter 3: Travelers & Settlers
  • Chapter 2: Deluge
  • Chapter 1: New Taxonomies
  • Prologue
  • Footnotes
  • EXHIBITION & INSTALLATION VIEWS
    • Dream Map and Cornucopia, Everson Museum of Art, 2025
    • Mopa Mopa Imaginaries, Instituto de Vision, 2025
    • Magic and Loss, two-person show with Charley Friedman, MONA, 2025
    • Turn of the Sea, Sioux City Art Center, 2022
    • Pinturas de Casta and the Construction of American Identity, Halsey Institute for Contemporary Art, 2022
    • Studio Visit, Elder Gallery, Wesleyan University, 2022
    • Casta Paintings, Utah Museum of Contemporary Art, 2019
    • Palimpsests, University of South Dakota, 2019
    • SUNY Stony Brook, two-person show with Charley Friedman, 2018
    • Monarchs, The Bemis Center for Contemporary Arts, 2017-2018
    • Chapter 5: River, The Union for Contemporary Art, 2017
    • Travelers and Settlers, Black & White Gallery, 2016
    • Travelers, Project Project Gallery, 2016
    • Realty/Reality, two-person show with Charley Friedman, 2014
    • Bernice Steinbaum Gallery 2010
    • Collette Blanchard Gallery 2009
  • Nebraska's Fauna & Flora: Other Histories. University of Nebraska - Lincoln. Translations and Texts by Thomas Gannon
  • Duncan Aviation
  • Instituto Caro y Cuervo
  • Redolent
  • Celebrity Cruises/International Corporate Art
  • Women's Center for Advancement
  • PORTFOLIO ARCHIVE
    • Word Drawings
    • Lace Drawings
    • Black Drawings
  • Statement In Spanish
  • Statement In English
  • PRESS
  • CONTACT
Biombo 1
2021
Barniz de Pasto on Wood
67" x 118" - 170 x 300 cm

A translation in barniz de Pasto by artisan Mary Ortega


This work is about cultural memory, and uses this technique, history, and iconography to explore the trajectory of time from the colonies until now: from the arrival of the Spanish to the last sixty years of turmoil and the resilience of those who have kept up this practice through historical and political changes. These works elevate and celebrate the material forms and imagery that are the cultural legacy of Colombia, speaking to contemporary concerns and audiences, generating a bridge between contemporary art & craft, and creating links between the past and present of the living practice of Barníz de Pasto.

Mary Ortega and I in her studio in Pasto, Colombia

Copyright © Nancy Friedemann, 2025