Analía Baños


Acrílico sobre tela.

33 cm x 21 cm


Papel vegetal dibujado, recortado, pintado ,sumergido en tinta china y pegado sobre cartón.

25 cm x 20 cm

EL CUELLO (2017)

S/T (2017)

Papel vegetal calado, pintado con grafito, pegado sobre cartón y pintado con acrílico.

35cm x 30cm

LA LUNA DORADA (de la serie de las nubes) (2016)

Papeles metalizado y de arroz, cortados, calados y pegados pintados con tinta china

33 cm x 22 cm

PAÑOLETA CON FLECOS (de la serie de las nubes) (2016)

Papel de arroz pintado y pegado a papel pintado con acrílico.

26 cm x 29 cm

PEINADO DE PELUQUERÍA (de la serie de las nubes). (2016)

Acrílico sobre papel recortado y pegado.

22 cm x 24 cm

UN ARBOL (de la serie de las nubes) (2016)

Papel de arroz pintado con acrílico y pegado a papel pintado

29 cm x 16 cm


Papel vegetal calado, sobre otro papel de arroz, tinta china y acrílico.

25 cm x 18 cm

ACHIRAS (2016)

Papel vegetal pintado con fibras, acrílicos y calado superpuesto a papel pintado con fibras, acrílicos y barniz.

40 cm x 30 cm


Dos papeles superpuestos.
Papel 1.Papel vegetal calado, pintado con tinta china negra y acrílico.
Papel 2. Acrílico sobre papel amarillo.

60 cm x 40 cm


Acrílico sobre tela.


Acrílico sobre tela.

23 cm x 41 cm

S/T (2013)

Acrílico y givré sobre tela.

30 cm x 25 cm


Acrílico y givré sobre tela.

27 cm x 55 cm

EL BALCÓN (2012)

Acrílico y givré sobr tela.

28 cm x 31 cm


Acrílico y givré sobre tela.

29 cm x 22 cm


Acrílico sobre tela.

37 cm x 26 cm


Acrílico sobre tela.

22 cm x 17 cm


Acrílico sobre tela.

32cm x 26 cm


Acrílico y plateado a la hoja sobre tela.

30 cm x 40 cm

S/T (2010)

Acrílico, givré y dorado a la hoja sobre tela.


Acrílico, témpera y givré sobre tela.


Acrílico sobre tela.

60 cm x 60 cm


Acrílico sobre tela.

90 cm x 80 cm

Animal Print (2007)

35 x 25 cm

Achiras Doradas Naturales y Silvestres, bajo el Sol (2007)

40 x 24 cm

Talán - Talán Dorado del Bosque (2007)

26 x 26 cm

El Limonero Está de Fiesta (2007)

50 x 20 cm

Flores de Cuentos para Niñas Princesas (2006)

45 x 35 cm

Givreana Prestige [Prestigio Givreana] (2002)

Chronicles of a Broken Mirror – On “Givreana Prestige” [Prestigio Givreana], a work by Analía Baños
By Jorge Ignacio López.

To Interrogate the mirror is to let oneself go into a dizzying exploration of the inner self, that would not end. (Gille Perriot)

Since man walks upright, the need to extol the beauty of the body through artificial means satisfies a universal behavior. It has always been done and always will be. It responds to a positive evolution pattern of mankind.
Techniques used for this are diverse and vary according to culture and time. It is one of the most ancient techniques of ornamentation to alter the natural appearance.
The ideological model of social beauty and cosmetics. Makeup, grimaces, hair, application of mask, depersonalization, and change of identity. Costumes, parade, pose, lighting, photography, icon, an assembly line of beauty.
Analía begins her task, every operation has been established as a rite of passage. In the meanwhile, the decor transforms her. The team (their givreanas) are dressed with designs made by the artist. Each operation has its own style: it goes from carnival (carne-vale = the meat is allowed) to the high tech style, through the Baroque, up to three women in 70s disco style, coated on small mirrors reflecting and emitting little light beams.
As in Snow White: the first surprising thing in this tale of Grimm is the mirror of the step mother. Here is a mirror that cannot lie: this is trivial and valid for all mirrors; what is more surprising is that we already have, before the daguerreotype, “a mirror that remembers” (the most beautiful one, the most successful one, the most prestigious one).
The whole problem of the step mother is that the mirror cannot keep her youth nor her beauty: it tells her that she is getting old and that other women, such as Snow White, are younger and more beautiful. And that is what she cannot bear.
Here is where the Givreanas appear, a perfect combination composed as a painting, from materials and colors within a frame; the snow, the ebony and the blood; the black, the white and the red of their wrapped faces in bodies covered with bright costumes and mirrors.
Like a wall: all the external reality bounces on the polished material, on that enigmatic surface where the very nature of all mirrors dwells in purity. Magnet made of images or of realities of others.
The mirror attracts them and then expels them to the outside universe, to the place of sight. The mirror does not want things; it does not keep them to itself. It is not nice, polite, nor possessive: it is a “repellent” body. Despite all appearances, is not penetrable, but hard and cold.
What is beyond the mirror is what is next to me. With relentless precision, it always gives me back darts, smiles; it pukes on me. But there is not indeed a mirror without any edges. Up and down, left and right: even if it’s round or oval, or even if it has the uncertain edges that characterize a broken glass, the mirror exhibits the same problems of surface and area than the conventional painting or photography. What is reflected, therefore, is always a fragment of the world. It follows that every mirror requires a strategy of position (where it is located) and another one, in combination, of contemplation (who looks, and from which place). Let us add chronologic and atmospheric time as well, because not in every time of the day can that light exist, a light without which the mirror cannot live... cannot shine.
Once the team is prepared, they get out, walk around streets, festivals, exhibitions, parades, fairs. The staging is the work, from the internal to the external significance; in its junction with the characters in this tale it delivers magical doses of gloss, perfectly sterilized, blessing their keeper with their magic words: Oooh, how divine!
Among flashes she uses photography as a witness (document), and logical support where the ritual becomes meaningful when it can be communicated to community, she enchants us in a world of bubbles of light, and gives us a prestigious and bright future while the dose endures.
An artist who works on the thinking about the word “shine” and its social connotations. In her performances she places her generic condition as an object of sight, as well as the desire to be seen, the glamour, the status, the collective desire to transcend and fantasize on the lives of others, rich, popular, prestigious and alienated.
Her doses transform into metaphors of intelligence, beauty, popularity, leading us to consider it as a mass neurosis. Her function has to do with critic and irony, more than with entertainment.
A work with magical connotations, she does not confuse the concept with the decoration, the essential with the frivolous. She is telling us her personal story. Her makeup and glamorous world cryptically tells us about generating simulations, about creating masks.
In this way, while I accompanied her by the park of Tandil, a perfect bounce of the ball of light has led to identify the mirror with the very source of light. Is it not the word “spotlight” a synonym for light or focus light?
Its brightness blinded us, we looked our hands and feet in a fragmented way, until we discovered who we are in one long look, we have already formed an idea of beauty, we created a series of stereotypes that have much to do with the others.
Analía, as Alice, went through, and started a magical journey for which she did not need tickets or luggage, nor even any acids. And it is due to the fact that sometimes the imagination is stronger than any other drug. Art would become that wonderful mirror that over the centuries we would give us an image sometimes wonderful, sometimes distorted. Art, such as the portrait of Dorian Gray, would be the mirror and the mirage in which the time would pass and would lead us to the old age, while we will always remain young and beautiful.
The desire to be the most beautiful in the world, to be seen, the obsession for the return of the gaze, the search for a wall on which to gather, as in the old Amusement Park in Buenos Aires called Ital Park, it immerses us in a labyrinth, facing us to mirrors that change us, stretch us and shrink us, distort our bodies in a seemingly unthinkable effect in a mirror.
About the distortion, the magic, the mystery, about ourselves, about our selfishness and our curiosity speaks “Givreana”, that illuminates us where these lines end. A broken mirror brings seven years of bad luck. We do not know the years of good luck that the doses of brightness of “Givreana” can bring, by recomposing fragments of mirrors that rotate, like satellites in an unknown galaxy around us.

Black Rose [La rosa negra] (2007)

45X35 cm.

Flowery Thing with black lace [Floripondio con encaje negro] (2007)

50X30 cm.

They have come a Long Way and Support for the Boys [Han recorrido un largo camino y avanti los muchachos] (2006)

Red Achira over Blue Velvet [Achira roja sobre terciopelo azul] (2006)

45X35 cm.

Lemon Tree [El limonero] (2006)

50X20 cm.

Aloe Vera [El áloe vera] (2006)

45 X 45 cm.

From the Army of Love [Del ejército amoroso] (2005)

Givreana Prestige [Prestigio Givreana] (2005)

Mirrors [Espejos] (2005)

The Brilliant World of Givreana [El brillante mundo de Givreana] (2004)

Givreana Prestige. Dose of brightness, magic solutions. [Prestigio Givreana, dosis de brillo soluciones mágicas] (2003)

Untitled (2002)

The Swimmer [La nadadora] (2001)

30 X 20 cm.
Con el apoyo de
Fundación Itaú Mecenazgo Buenos Aires Ciudad