Margarita Checa puts up an exhibition at the Lucía de la Puente Gallery, summarizing her recent years’ achievements, when she was far from our circuit, while developing an international activity. Through this exhibition, she reaffirms herself as one of the most outstanding sculptors of our country. A somehow delayed acknowledgment, due to – among other things – a local trend that sculptors of her generation subtlety  imposed on us, which is absolutely abstract and started with Noguchi’s work.  This statement is not trying to minimize their merit.

However, it should be enough to visit the Noguchi Museum in Brooklyn to discover the origins of the best of our 80’s sculpture. Irony of a country, whose Pre-Colombian expressions, essentially geometric, do not seem to click with the interests of that era.

Margarita Checa’s early works were marked by the empathy of Cristina Galvez, a person who may not be known by the new generation as we do not have – yet – a Museum of Contemporary Art Museum of our own.  Then, she alternatively worked with bronze and outstanding drawings. Before her long stay in Central America, she also did some  painting.  In addition to her master domain of the human silhouette, she came back with a state-of-the-art technique to work with wood, making inlaids, introducing new elements, and absorbing the knowledge of the Caribbean handcraft, to create these sexy and opulent sculptures. At her best, Margarita Checa has created some of the most splendid sculptures of the Peruvian Contemporary Art.