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Between Iron and Concrete

By Laura Isola Published in Perfil newspaper, November 2017.  

The artist from Misiones Andrés Paredes is exhibiting his works at the Calvaresi gallery. To ripple the meaning of art, what is thought and built by man and the man-made quality that deprives it from the natural. Fretworks, cobwebs, dragonflies, fantasies of silence invaded by dreams.

The Garden Where Two Jungles Branch

By Marcelo Zapat. Published in Ambito Financiero newspaper, December 2017

Nature has been the topic of Paredes’s work since he started his artistic career in Misiones, his home province, in the first decade of the 21st Century. It was there, in the tropical Paradise and the red soil of Apóstoles, where his fretworked trees and cut paper woods bearing the jungle entangled shapes were all born.

Out-of-Scale Orchids and Butterflies, Exponents of Nature in an Ornamental Capacity 

By Mercedes Urquiza. Published in La Nacion newspaper, January 2018.

A mix of nature and urbanity. This is what the artist from Misiones Andrés Paredes seems to have experienced and rendered in his work. Last year, the artist left the direct contact with nature of his everyday life to settle down in Buenos Aires, where he lives almost all the time to work on the pieces that form part of the exhibition “Artifice”.

A Jungle in San Telmo

By Eduardo Villar Publicado, Published in Ñ Magazine, Clarín Newspaper, in January 2018

“For 15 years, I have explored a new, contemporary look at the Parana jungle in Misiones and how its universe is managed”, the artist says, and later adds: “I am currently exploring my personal archaeology and genealogy, I deal with my childhood memories and turn them into great participatory installations involving all the senses”. 


Curatorial text by Ana Martinez Quijano

There is an urban garden where time has stopped. There paper orchids float and there are butterflies of gigantic size. The light, the reflections, give rise to a tide of sensations, awaken the senses and the memory.

An Urban Oasis with a Misiones Trait

By Julio Sanchez, published in La Nación Newspaper, in May 2017

Two enormous iron fretworked butterflies hover over the thousands of pedestrians that walk along Florida Street every day. Created in his native province by Andrés Paredes, they were set there in 2015.


Curatorial text by Alicia Menises

He is Andrés Paredes -from Apóstoles, in the province of Misiones- and, based on a European technique called sherenscfhnitt or papel cortado, he managed to create his own visual language when he expanded to a third dimension and transposed it to other materials.

An Art that Questions Existence

By Ana Martinez Quijano, published in Ámbito financieroNewspaper in May 2017

Continuing with his representation of nature, always present -together with beauty- in the artist’s work, the exhibition raises from its very name important questions around existence and death. For Paredes, art is a serious thing.

The Games of Memory

By Eduardo Villas, published in Clarin Ñ in August 2016

The work of the Misiones artist Andrés Paredes, located in a side hall of the exhibition curated by Ana María Battistozzi, is a first space of a certain intimacy that prepares the viewer for Works that require approaching without interferences.

An Archaeologis´t feast

Curatorial text by Roberto Echen

Memory files are not consistent or organized material based on clear mathematical principles or performance organic designs.

The Paraná Mud - Matter for the Modelling of Memories 

By Ana Martinez Quijano, published in Ámbito Financiero Newspaper february 2015

The artist Andrés Paredes (1979) has come from his native Misiones to the Recoleta Cultural Center to present “Memorious Mud”, an exhibition curated by the cultural operator from Rosario Roberto Echen.

One on One with Nature

by Ana María Battistozzi, published in Clarín Ñ in May 2017

A similar approach, capable of making us notice what is often unnoticed about butterflies, is that taken by Andrés Paredes. Based on a relentless focus, he is able to rebuild in their wings a lace of very thin lines finished in complex latticework, and to follow the same relation in the exuberant Misiones forest canopy.

Line and other Proliferations

By Fabian Lebenglik, published in Página 12 in February 2015

Paredes not only thinks about his work materiality. When they become volumetric, his lines also project shadows in space that appear as a result of the fretwork. Absence and presence – contrasts that are part of his work.

Trace of Memories and Time

By María Lujan Picabea, Trasnvisual Magazine, 2015

Playing with mud is one of the delights from childhood, and it is there, in that case full of always bordering feelings between attraction and dismay, where Andrés Paredes digs for his artistic production.

Exotic Intimate World

By Marina Oybín, Arte Online, 2015

“Memorious Mud”, the superb exhibition by Andrés Paredes  ̶ a kind of cabinet of curiosities that compresses his deepest memories- will be seen at the Recoleta Cultural Center until March 1st. 

Butterflies of Changes

By Ana Martinez Quijano, Curatorial text 2015

Like a social, political and cultural landscape seismograph, the artist perceives urban nervousness and the voices of those who demand change or transformations. On the one hand, the change is seen as essential in front of the world violence and the metamorphosis of a threatened planet


By Alicia Menises Curatorial Text

To be a Migrant is an inherent condition of human beings, it implies movement and decision making it entails a longing for a change that will ensure the continuation of life.

The Recalled Childhood

By Florencia Battiti, Curatorial text 2014

The young artist from Misiones Andrés Paredes comes from a family of artists that, in the 90’s recovered the value of beauty and craftwork as a source of pleasure and creativity for visual arts.


By Alicia Menises Curatorial text 2013

Every human being is able to experience an aesthetic feeling before a work of art, but this feeling cannot block the discovery of other realities hidden behind those formal elements that have made experimentation possible.

Exuvia | PiréPú

By Javier Chemes Posadas Misiones, february 2014

The exuvia is us. We –on this side- are watching. Exoskeletons of what was, that is a full and knockdown past of what was barely (re)known as something owned in the being-alive path of others.

Cabinet of Curiosities

By Daniel Molina, published in Perfil Newspaper, april 2013

With “Gurí” (Child), the Misiones native Andrés Paredes has devised the link between two worlds; in this case –as a passionate naturalist– by sticking to the wonders of science and nature. Through a microscopic look, Paredes uncovers the weaving of this wonderful and terrible rainforest that ended the lives of Horacio Quiroga and all his family.

“That Place is inly in my memories”

by Alicia Menises April 2013

Each story has its own time and way to get known.

The happiness with which Andrés describes his childhood experiences in a huge yard filled with dense vegetation, plus his accidental encounter with a microscope, are the genesis of a vital experience marked by play, exploration, discovery and the everlasting sense of freedom. 

Before the Night

By Ana Martinez Quijano, Curatorial Text, Ushuaia 2011

With its powerful imagery, artists dive deeply into things, they face an ocean of vicissitudes in reach of an objective which is usually uncertain, to overcome the lack of certainty, the consubstantiated feelings to the permanent and the inevitable desire to explore uncharted paths.

3 Zen Masters

By Daniel Molina, Curatorial text, November 2009

The fretwork by Andrés Paredes offers a new original Reading of the American art abstract tradition. His papers and woods interact with the ñandutí motifs or vegetal and zoomorphic structures (stylized to abstraction) that were produced by the Tupí-Guaraníes and survived - blended- in the Colony mongrel objects.

From spring to autumn

By Ana Martinez Quijano Arte al día Magazine, ArteBA 2008

Today, the lace-like fretworks made on paper and wood, the swarm of abstract looking lights and shadows, hold the beauty of his early work. However, something has changed in that universe.

About Andres Paredes

By Norberto Frigerio Arte al día Magazine, ArteBA Fair 2007

Born in the heart of the Jesuitical missions, an heir to an art close to Asian origami, with his insolent 27 years of age, Andrés Paredes dazzles with his capacity to create a universe where infinite images cross and compete.

Form and content in a line

By Ana Martinez Quijano published in Ámbito Financiero Newspaper , October 2006

Rooted in memory, these images that are now merged with an urban context perhaps determine the sensitive quality of the work, which offers resistance against intellectual temptation.

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