Caterina Silva, ‘Amour Propre’, 2016, ARP: Artist Residency Project

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 self-representation developed by radical feminist groups such as Megalia on the other.
Silva is interested in late-capitalist rituals and obsessions about food, body, spirituality,
accumulation, consumption and waste. Besides traditional fine arts materials, she uses to paint with edible, organic and inorganic components that happened to pass through her body or happen to be around her, coming from both her ongoing researches, daily life and personal obsessions.
Installation view at Asia Culture Center, Gwangju, South Korea

Image rights: caterina silva

About 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.

Italian, b. 1983

Solo Shows

2015
Bosse & Baum, 
London,
2015
Bosse & Baum, 
London,
Caterina Silva