acrylic on canvas. 130cm x 130cm. 2009
azul ftalocianina e branco titânio (2006. porto alegre, brazil)
atelier subterrânea. porto alegre, brazil
CURRICULUM VITAE
ACADEMIC BACKGROUND:
1998-2000 BA (Honours) Fine Arts (painting), First class degree. Birmingham City University.
Birmingham, England.
1997-1998 BA (Honours) Fine Arts (painting, photography, print-making). Wolverhampton
University. Wolverhampton, England.
1995-1997 BA (Honours) Fine Arts.Universidade Federal do Rio Grande do Sul (UFRGS).
Porto Alegre, Brazil.
ARTISTIC BACKGROUND:
Solo Exhibitions:
2013 Negro de marte y Blanco de Titanio. Santa ateresa Espai d'Art. Barcelona, Spain.
2010 Marsschwarz und Titanweiss. East Central Galleries. London, UK.
2006 Azul Ftalocianina e Branco Titânio. Galeria Bolsa de Arte. Porto Alegre, Brazil.
Group Exhibitions:
2010 Memoria Technica. East Central Galleries. London, UK.
2009 OFF LOOP. Manos Tijeras. Barcelona, Spain.
2008 TOP2008. Hangar. Barcelona, Spain.
2008 Pequenos Formatos. Galeria Subterrânea. Porto Alegre, Brazil.
2008 Click-Clack. Homage to the Slide Projector. The Art Gallery, University of Haifa. Haifa, Israel.
2007 XII Certamen Jóvenes Pintores de la Fundación La Gazeta Regional. La Salina.
Salamanca, Spain.
2007 XV Premio Ciudad de Tudela de Pintura. Centro Cultural Castel Ruiz. Tudela, Spain.
2007 IX Premio de Pintura Honda. Itinerating exhibition. La Garriga, Spain.
2005 Living Landscape. West Cork Arts Centre. West Cork, Ireland.
2004 BAC!2004 Barcelona Arte Contemporáneo. Centro de Cultura Contemporánea de Barcelona. Barcelona (CCCB), Spain.
2004 Brasil No Ar. Galería dels Ángels. Barcelona, Spain.
2004 III FEM Festival Edición Madrid de nuevos creadores. Edificio de las Cariátides. Madrid, Spain.
2003 BAC!2003 Barcelona Arte Contemporáneo. Centro de Cultura Contemporánea de Barcelona. Barcelona (CCCB), Spain.
2001 I Certamen Internacional de Pintura FLC. Centro de Arte Moderno Ciudad de Oviedo (CAMCO). Oviedo, Spain.
2000 British Airways VIP Lounge. Birmingham Internacional Airport. Birmingham, England.
1999 2/3. Custard Factory. Birmingham, England.
Prizes:
2005 “La propia Huella Digital en Blanco Titanio”. Second prize, VII Premio de Pintura Honda.
La Garriga, Spain.
2004 “Amarillo Cadmio Claro”. First prize, V Certamen Internacional de Pintura. Royal Premier Hoteles. Torremolinos, Spain.
Residencies:
2008 Summer residency. Hangar. Barcelona, Spain.
2008 May, 2008. NY Arts Beijing. Beijing, China.
Everything depends on what is said about the night
Everything depends on what is not said about the day . This Samuel Beckett’s proposition vertiginously leads us to Clarissa Cestari’s current work, but it requires that one complements the assertion’s movement: everything depends on what is said about the night, as well. What inspires her production is the duality. The artist creates a dialogue with the spaces, associating the negative of the image to the positive of the canvas. This game is comprised by a daring throw, which depends on a shadow. Light rays are like life threads thrown out, stretching across a vertical surface, as they echo intermittences of death . Each canvas is just a piece of wall, which has absorbed the bright projections, and now projects back towards the viewer the artist’s unfinished gestures.
Black is black. White is white. Gray is gray. But black is blue. And this is absolutely based on nothing . That was Clarissa’s choice of how to introduce me her paintings. The elements unrestricted evidence display some nuances as she talks about them when we get close to her work process. The black and white paintings, stains on small paper fragments, are posted on the studio’s walls. Resulting from automated gestures, originated in subconscious incidences, they seem the expansion of a first gesture.
This is the origin of all the levels’ sequences: Clarissa transforms the doodles made out of brush bristles blots into a formal autonomous element of her work, constructed one by one, line by line, with an icing syringe. Line by line, as someone who writes a book, or draws a map; as someone who gives texture to the passing of time, before the drawing, and after the projected shadow. The overhead projector is all-important in this process: it puts behind what was the intention of a spontaneous trace, and projects the subversion of the gesture on the wall, obstinately pursued by Clarissa. The accumulation of horizontal, vertical, diagonal and curve lines, which she refers to as organic lines, is accomplished by means of pure colors such as Ftalo Blue and Titanium White, mixed with a glossy acrylic gel medium to preserve the wet aspect of fresh paint (of recent times), and the three-dimensional features of the juxtaposed lines.
Dual: the mechanic and the manual, the bright and the dark, the light and the shadow, far and near, the line and the surface, the horizontal and the vertical, the day and the night, life and death in diptychs.
BECKETT, Samuel. Como é. SP: Iluminuras, 2003, p.46
SARAMAGO, José. As intermitências da morte. SP: Companhia das Letras, 2005.
Conversa com Clarissa Cestari, em seu atelier, na noite de 29 de agosto de 2006.
Black is black. White is white. Gray is gray. But black is blue. And this is absolutely based on nothing . That was Clarissa’s choice of how to introduce me her paintings. The elements unrestricted evidence display some nuances as she talks about them when we get close to her work process. The black and white paintings, stains on small paper fragments, are posted on the studio’s walls. Resulting from automated gestures, originated in subconscious incidences, they seem the expansion of a first gesture.
This is the origin of all the levels’ sequences: Clarissa transforms the doodles made out of brush bristles blots into a formal autonomous element of her work, constructed one by one, line by line, with an icing syringe. Line by line, as someone who writes a book, or draws a map; as someone who gives texture to the passing of time, before the drawing, and after the projected shadow. The overhead projector is all-important in this process: it puts behind what was the intention of a spontaneous trace, and projects the subversion of the gesture on the wall, obstinately pursued by Clarissa. The accumulation of horizontal, vertical, diagonal and curve lines, which she refers to as organic lines, is accomplished by means of pure colors such as Ftalo Blue and Titanium White, mixed with a glossy acrylic gel medium to preserve the wet aspect of fresh paint (of recent times), and the three-dimensional features of the juxtaposed lines.
Dual: the mechanic and the manual, the bright and the dark, the light and the shadow, far and near, the line and the surface, the horizontal and the vertical, the day and the night, life and death in diptychs.
BECKETT, Samuel. Como é. SP: Iluminuras, 2003, p.46
SARAMAGO, José. As intermitências da morte. SP: Companhia das Letras, 2005.
Conversa com Clarissa Cestari, em seu atelier, na noite de 29 de agosto de 2006.
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