Andreína Vallés (Caracas, February 19, 1994)
Passionate about drawing and image since she was a child, Andreína Vallés has been developing without really knowing what her path was, or at least until very recently everything looked like that. Oriented from a very early age towards the humanistic area, and without the certainty of really knowing if she was making the right decision, the illustrator chose to study Social Communication, a career she assumed from the beginning with much enthusiasm, especially knowing that she would be in contact with subjects that, without a doubt, would be of vital importance in developing a critical and creative sense towards art and its different manifestations.
Graduated in Audiovisual Arts from the Universidad Católica Andrés Bello in 2016, Andreína has tried little by little to create a space in which she could share, from the line, those images that she did not want to remain only on paper but that could also be part of a personal and at the same time universal aesthetic discourse. At the end of 2017, thanks to an invitation from the cultural space Librería Lugar Común, the social communicator inaugurated her first exhibition Accidentes poéticos, an exhibition of 12 illustrations that aim to translate the poetic language of the Peruvian writer José Watanabe into images.
Recently the illustrator collaborated with the musician and filmmaker Nicolás Manzano in the intervention of an illustration of his authorship, which is the cover of the new album of the musician La Sed. Currently, Andreina is developing an animated video, which will be part of a national production film.
ABOUT HER WORK
To define it from a single style would be a wrong proposal. As you can see in her gallery, the illustrator is characterized by having different aesthetic forms: the one corresponding to portraits, city landscapes, poetry and the memory of cinema. Trying to bring to each of these languages a discourse of their own from the line, color and composition with the space, without leaving aside the emotional link with each of the images proposed. In them, she takes up again the crayon as an indispensable tool at the time of preconceiving the drawing. Color is not only a support for drawing but also an element of composition when drawing, trying to denote playful elements that interact with the viewer’s look. In her palette, predominates the use of primary colors that sometimes merge with complementary tones when choosing the support.