Marysole Wörner Baz

Baz was contemporary to the so-called “Generación de la Ruptura” (represented by Manuel Felguérez, Vicente Rojo Almazán, Lilia Carrillo and Alberto Gironella among others) but was closer, by affinity and coexistence, to the exiled European artists living in Mexico, like Remedios Varo, Leonora Carrington, Vlady, Mathias Goeritz, Francisco Moreno Capdevilla and Benito Messeger.

She initially launched her career in Paris, and received attention from critics early in her career. This, combined with her self-taught formation as an artist and her close ties to older foreign artists, permitted her to remain to the side of the generational confrontation that prevailed in the Mexican visual arts by the end of the fifties and early sixties. It also gave her the chance to participate, in an unspecific and somewhat marginal way, in the exhibitions that grouped diverse visions and tendencies, and to develop a style quite different from other contemporary artists, loaded with humanist solidarity and a noticeably dark feeling.

In spite of her increasing success and her expanding knowledge of different media—from painting to drawing and sculpture—her alcoholism progressed almost to the point of ending her career. Nevertheless, after an intense rehabilitation process in the early seventies, she returned with a new vision that would earn her exhibitions in the main museums of Mexico (Palacio de Bellas Artes, Museo de Arte Moderno, Museo Universitario del Chopo and others) and the recognition of collectors in several countries.

From her first individual exhibition, in 1955, and throughout her more than five decades work, she explored diverse media, from the traditional ones to some approaches to newer genres, like kinetic art and installation art.

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