The painting Amour Propre is the outcome of a research carried on during the ACC-Rijksakademie residency in Gwangju, revolving around the fetishization of the female body in Korean culture and the consequent obsessions, habit and taboos of women and men on one side, and the violent contrasting attitude and …

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caterina silva

Grounded in a unique visual language marked by nonrepresentational gestures, Caterina Silva’s paintings convey the artist’s passionate sentiments and attempts to control the uncontrollable. Pulling inspiration from female art historical precedents, including the paintings of Helen Frankenthaler, the writings of Agnes Martin, and the art of Hilma af Klint, Silva’s visual vocabulary is rooted in personal memory, mythology, and nonhierarchical gesture. Her primary focus is the canvas’s surface. Repurposing old works and creating new art through a destruction of the old, she unstretches existing canvases and paints on both sides of the cloth. The resulting paintings, marked by a multidimensional, wrinkled texture, exist as both products of and witnesses to her expressive in-studio performances.

Selected exhibitions
2018
ARP: Artist Residency Project at Investec Cape Town Art Fair 2018ARP: Artist Residency Project
2015
Caterina SilvaBosse & Baum
tbc (august)Bosse & Baum
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Amour Propre, 2016

Chinese Ink, Cosmetics, Sheet-mask, nail varnish and markers on canvas
86 3/5 × 59 1/10 in
220 × 150 cm
Location
Rome

The painting Amour Propre is the outcome of a research carried on during the ACC-Rijksakademie …

Medium
Image rights
caterina silva

Grounded in a unique visual language marked by nonrepresentational gestures, Caterina Silva’s paintings convey the artist’s passionate sentiments and attempts to control the uncontrollable. Pulling inspiration from female art historical precedents, including the paintings of Helen Frankenthaler, the writings of Agnes Martin, and the art of Hilma af Klint, Silva’s visual vocabulary is rooted in personal memory, mythology, and nonhierarchical gesture. Her primary focus is the canvas’s surface. Repurposing old works and creating new art through a destruction of the old, she unstretches existing canvases and paints on both sides of the cloth. The resulting paintings, marked by a multidimensional, wrinkled texture, exist as both products of and witnesses to her expressive in-studio performances.

Selected exhibitions (3)
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