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Soggetto. Oggetto. Abietto., 2015, Riccardo Crespi Gallery, Milan
Riccardo Crespi gallery presents Soggetto. Oggetto. Abietto. (Subject. Object. Abject.) a solo show by the Italian artist Caterina Silva based at the Rijksakademie in Amsterdam.
Caterina Silva investigates, through painting, the primary emotions – fear, joy, delirium – that drive the human being to the creative act. The title of the exhibition plays on the musicality of words that recall – well away from a nursery rhyme - the complexity of the dialectic as studied by Julia Kristeva in her text Pouvoirs de l'horreur. Essai sur l'abjection, 1980 (Powers of Horror: An Essay on Abjection). According to the renowned linguist, abjection is a necessary step to build the identity, likewise it becomes part of the works by Caterina Silva packed with characters and imaginary stories embodied by forms and signs in summarized narratives. Oil on canvas is the starting point for a careful analysis of the potentialities of painting itself and its ability to convey a meaning: Caterina Silva asserts that her works are full of meaning, and yet she refuses to establish a code (or perhaps to reveal it) in order to adhere completely to a non-systemic and non-hierarchic ideal, parallel to and consequent on gender studies – a recurrent theme in her work ...
Caterina Silva investigates, through painting, the primary emotions – fear, joy, delirium – that drive the human being to the creative act. The title of the exhibition plays on the musicality of words that recall – well away from a nursery rhyme - the complexity of the dialectic as studied by Julia Kristeva in her text Pouvoirs de l'horreur. Essai sur l'abjection, 1980 (Powers of Horror: An Essay on Abjection). According to the renowned linguist, abjection is a necessary step to build the identity, likewise it becomes part of the works by Caterina Silva packed with characters and imaginary stories embodied by forms and signs in summarized narratives. Oil on canvas is the starting point for a careful analysis of the potentialities of painting itself and its ability to convey a meaning: Caterina Silva asserts that her works are full of meaning, and yet she refuses to establish a code (or perhaps to reveal it) in order to adhere completely to a non-systemic and non-hierarchic ideal, parallel to and consequent on gender studies – a recurrent theme in her work ...