THRONE
       
     
PISO
       
     
PISO
       
     
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ALTAR TO THOSE FORGOTTEN
       
     
CATCH THE LIGHT
       
     
THE WEDDING SUITE
       
     
A FLOR DE PIEL
       
     
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THRONE
       
     
THRONE

 Installation bamboo chair, velvet, clay roses, soil

The Neuberger Museum

A baby wicker chair, covered with extremely delicate ceramic roses each with a oversized, thorn-like stem, all red, placed atop a pedestal which is covered with blood-red velvet, then surrounded by a circle of dirt and more roses. as such it is one final attempt to protect the child from what she may perceive as a predestined fate.

Dominick Lombardi

New Art Examiner

 

PISO
       
     
PISO

Installation, brocade, clay roses, 8’ x 8’

The Neuberger Museum, Purchase, New York 

The delicacy and subtlety of Cortés's work is especially apparent in Piso, consisting of a length of brocade extending from the wall down to and out onto the floor. The floor covering is qualified by a heap of clay flowers. Simultaneously formal and feminine, the piece entails a simple plane of fabric enhanced by multiple forms.

 

Judy Colishan PH

PISO
       
     
PISO

Detail - Installation, brocade, clay roses, 8’ x 8’

The Neuberger Museum, Purchase, New York 

The delicacy and subtlety of Cortés's work is especially apparent in Piso, consisting of a length of brocade extending from the wall down to and out onto the floor. The floor covering is qualified by a heap of clay flowers. Simultaneously formal and feminine, the piece entails a simple plane of fabric enhanced by multiple forms.

Judy Colishan PH

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ALTAR TO THOSE FORGOTTEN
       
     
ALTAR TO THOSE FORGOTTEN

Installation, encaustic painting on wood, table, clay, 11’H x 4’W x 2’D 

Wavehill, Riverdale, New York

Esperanza Cortes’s Multipart work “Altar to those Forgotten”, is a heap of unglazed clay roses along with exaggerated long thorns on a table put in front of an abstract painting. If viewers are literal minded, they can read its evanescent imagery as ascending souls, perhaps spirits of Wave Hill.

William Zimmer

The New York Times

CATCH THE LIGHT
       
     
CATCH THE LIGHT

Installation - Swarovski Crystals, nylon wire, mirror, branches, 4’ x 14’

 Wave Hill 

Riverdale, NY

 

THE WEDDING SUITE
       
     
THE WEDDING SUITE

Installation - miniature paintings, brocade, lame, pearls, crystal, clay beads, mirror, wood, 8’ H x8’ Dx 16’ W  

Bronx Museum of the Arts New York

Longwood’s “stand” includes installations that could pass for theater sets, notably Esperanza Cortes’s “The Wedding Suite”, where the bed is giant box covered with white damask and the curtains are made of fleshy-looking beads and flowers.

Vivien Raynor

The New York Times

 

A FLOR DE PIEL
       
     
A FLOR DE PIEL

Installation, clay, fresco on marble, salt,  8’ H x 8’ L x 8’W

Nature is possibly the most formidable component of Cortes’s work. A rhythm set up by repetition, slight irregularities and gathering of forms relates her sculpture to flower beds, clustered seeds or stem of leaves.

Judy Collischan PH.D

 

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