MARIETA CHIRULESCU - - abstração? ... minha paixão!
21 Apr - 16 May 2016
Galleria Fonti is pleased to announce “abstração? ... minha paixão!”, a group exhibition by Marieta Chirulescu, Delia Gonzalez, Birgit Megerle, Giulia Piscitelli.
The exhibition is going to be the first in a series of group shows in which artists of the gallery program and guests will deal with the topic of abstraction showing existing works or ones which were realized especially for this occasion.
The exhibition is a "residual" of the last solo show in the gallery by Marieta Chirulescu as it includes three of the already exhibited works which simply remained in their “old” places, to be combined with the works of the other artists and thus be recontextualized.
One of them, in particular, becomes the starting point of the project about abstraction, it depicts, in the words of the artist:
«A yellow-white background and a rectangle consisting of yellow, blue and grey stripes in the top right corner and is-built of two layers of inkjet-prints on different kinds of textiles.
Between these two elements there is another layer, a painted area of short brush strokes.
The painting refers to the history of painting, of course, to digital images, computer-collages, photography, structural investigations of image-making and much more».
The Four artists involved, chosen from the gallery program, interact with each other on the base of abstraction used as a pretext to develop anthropological or psychological analysis, to better express a personal visual universe or simply to evoke landscapes, bodies, signs, buildings, and so on.
Marieta Chirulescu's (Romania, 1974) new group of works is realized using mixed techniques involving printing and copying, as inkjet images printed on canvas, photocopies mounted on canvas, prints from scanned black-and-white archival photographs and negatives, as well as digital prints from Photoshop-manipulated digital files. Chirulescu uses advanced technologies of reproduction to excavate the originals from the sediment of copies. By copying the empty underside of the scanner lid or a glass plate placed on the photocopier, Chirulescu retains the rectilinear frame of reference that conditions our way of seeing and understanding the world, and that typifies every painting, landscape, window, mirror or book. But while preserving the frame and the grid, Chirulescu also eliminates most of the identifiable referents within it. The “subjects” of her works, then, are not the protagonists of the real world, but the afterimages and reflections of the “mechanical unconscious” of scanners and copy machines, or records of instantaneous events in nonhuman environments, such as digital errors of image-processing software.
Delia Gonzalez(USA, 1972) drawings are like musical compositions: “I think and feel in shapes and patterns so making drawings and making music is my way of expressing the feelings I cannot put into words: the visual sound of the unconscious.
In a sense they are like cells. They are living, breathing and slowly recomposing themselves: maybe they are my idea of worship. I’ve always drawn maps of my life's events and have always been obsessed with cells. I felt like one isolated cell alone and removed from the others in the system. With the passing of time, these cells have multiplied and taken a form of their own. Perhaps my drawings are my way of integrating myself into life's system, life's biological order. In my drawings circles also refer to the moon and represent birth, death, re birth: the endless cycle of life.
Birgit Megerle(Germany, 1975) focuses on bridging the gap between representations of reality and the fragmentation of linguistic codes. Relationships between art, dwelling, history, and experience constitute the subtle threads that conceptually unify two abstract paintings, which are actually a macroscopic detail of a déco door, are a device for a further reflexion on the painting where abstraction and figuration find their identity not in the form but in the idea.
Giulia Piscitelli(Italy, 1965) has found herself driven to rescue the debris of modern life, often shifting the visual significance or site of ‘meaning’ within these objects. In her Aureole, floating discs of gold leaf echo halos extracted from Renaissance paintings, here overlaid on selected sections of maps or on graph papers. In these striking compositions codified bodies of land become placeholders for an invisible human or mythological body beneath each glowing halo. Piscitelli’s appropriation of these references circles the core of her artistic output, elevating these castoff items carefully collected by the artist while at the same time using this very process to address their status as objects in our world.
The exhibition is going to be the first in a series of group shows in which artists of the gallery program and guests will deal with the topic of abstraction showing existing works or ones which were realized especially for this occasion.
The exhibition is a "residual" of the last solo show in the gallery by Marieta Chirulescu as it includes three of the already exhibited works which simply remained in their “old” places, to be combined with the works of the other artists and thus be recontextualized.
One of them, in particular, becomes the starting point of the project about abstraction, it depicts, in the words of the artist:
«A yellow-white background and a rectangle consisting of yellow, blue and grey stripes in the top right corner and is-built of two layers of inkjet-prints on different kinds of textiles.
Between these two elements there is another layer, a painted area of short brush strokes.
The painting refers to the history of painting, of course, to digital images, computer-collages, photography, structural investigations of image-making and much more».
The Four artists involved, chosen from the gallery program, interact with each other on the base of abstraction used as a pretext to develop anthropological or psychological analysis, to better express a personal visual universe or simply to evoke landscapes, bodies, signs, buildings, and so on.
Marieta Chirulescu's (Romania, 1974) new group of works is realized using mixed techniques involving printing and copying, as inkjet images printed on canvas, photocopies mounted on canvas, prints from scanned black-and-white archival photographs and negatives, as well as digital prints from Photoshop-manipulated digital files. Chirulescu uses advanced technologies of reproduction to excavate the originals from the sediment of copies. By copying the empty underside of the scanner lid or a glass plate placed on the photocopier, Chirulescu retains the rectilinear frame of reference that conditions our way of seeing and understanding the world, and that typifies every painting, landscape, window, mirror or book. But while preserving the frame and the grid, Chirulescu also eliminates most of the identifiable referents within it. The “subjects” of her works, then, are not the protagonists of the real world, but the afterimages and reflections of the “mechanical unconscious” of scanners and copy machines, or records of instantaneous events in nonhuman environments, such as digital errors of image-processing software.
Delia Gonzalez(USA, 1972) drawings are like musical compositions: “I think and feel in shapes and patterns so making drawings and making music is my way of expressing the feelings I cannot put into words: the visual sound of the unconscious.
In a sense they are like cells. They are living, breathing and slowly recomposing themselves: maybe they are my idea of worship. I’ve always drawn maps of my life's events and have always been obsessed with cells. I felt like one isolated cell alone and removed from the others in the system. With the passing of time, these cells have multiplied and taken a form of their own. Perhaps my drawings are my way of integrating myself into life's system, life's biological order. In my drawings circles also refer to the moon and represent birth, death, re birth: the endless cycle of life.
Birgit Megerle(Germany, 1975) focuses on bridging the gap between representations of reality and the fragmentation of linguistic codes. Relationships between art, dwelling, history, and experience constitute the subtle threads that conceptually unify two abstract paintings, which are actually a macroscopic detail of a déco door, are a device for a further reflexion on the painting where abstraction and figuration find their identity not in the form but in the idea.
Giulia Piscitelli(Italy, 1965) has found herself driven to rescue the debris of modern life, often shifting the visual significance or site of ‘meaning’ within these objects. In her Aureole, floating discs of gold leaf echo halos extracted from Renaissance paintings, here overlaid on selected sections of maps or on graph papers. In these striking compositions codified bodies of land become placeholders for an invisible human or mythological body beneath each glowing halo. Piscitelli’s appropriation of these references circles the core of her artistic output, elevating these castoff items carefully collected by the artist while at the same time using this very process to address their status as objects in our world.