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 Edelmira Boller

The visit to the work of Edelmira Boller is enriched if the thought of Eduardo Ramírez Villamizar and that of Augusto Ardila are kept in mind, two teachers who supported their investigations, explorations and proposals in a fraternal way throughout their trajectory. In the frequent and lively conversations that she had with these creators, Elmira Boller organized impressions and ideas that motivated and expanded the passion for art that she has had since childhood and, likewise, won the resolution with which she decided to develop a project of her own. self-taught as an adult woman who was deeply impacted by the perspectives and proposals of modern teachers.

It is evident that the rigorous abstract lessons of Eduardo Ramírez Villamizar, his love for Colombia and its ancestral history guided Edelmira Boller's taste towards sculpture and towards the use of the modulating possibilities of iron, as well as towards a preference for certain themes and processes. . Likewise, it is clear that the gentleness with which Augusto Ardila has given visible forms to her spiritual conviction contributed to bringing together in the artist's work worlds as diverse as those she met through the works of many central figures in the history of modern art. from Colombia and the world, among whom Joan Miró, Pablo Picasso or Feliza Busrztyn can be cited as an example.

Through proposals such as those of these creators, Edelmira Boller understood that a discipline that linked sculptural work with a thorough investigation in painting and drawing would contribute to the understanding of a visual, movement and transformation pattern as definitive as light is. . This conviction was reinforced while he learned of excellence in these trades represented by the works of Eduardo Ramírez Villamizar and Augusto Ardila, who must be highlighted as exceptional draftsmen who have made it clear that there is no valuable work dedicated to deciphering value. structures that do not have the insistent support of a good drawing.

On the other hand, this return to thinking about the work of Edelmira Boller constitutes another entrance door to the understanding and knowledge of the way in which the feminine contribution has been built in the intellectual and artistic life in Colombia. Even at a time when some prerogatives for the female proposal had already been conquered in the country, for the artist it was necessary to confront with stubbornness and strength the barriers that made it difficult for her to dedicate herself to the artistic life and open spaces for the appreciation of her job.

Maria A Iovino

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