NATHALIE GUARRACINO

Paintings

Work on paper

Resumé

Artist Statement

Representation

Contact

first painting

SPECTRUM GALLERY

OSAKA, JAPAN

Spectrumjapan.com



"Between Nature and Structure"


October 11 - October 26th, 2020






NATHALIE GUARRACINO




EXHIBITION PREVIEWarrow view full painting 1 view full painting 1 view full painting 1 view full painting 1 view full painting 1 view full painting 1 view full painting 1 view full painting 1 view full painting 1 view full painting 1 view full painting 1 view full painting 1 view full painting 1 view full painting 1

"Between Nature and Structure"

As a French born artist educated in the US, my influences as a painter have been mostly North American artists and more precisely the deep, quiet, and emotional work of Mark Rothko, Ad Reinhardt, and Agnes Martin. For many years I worked in a New York studio located in the heart of Manhattan on busy 34th street. While invigorated and fueled by the unique artistic energy of the city, I strived to distance myself from its endless distractions and began to pursue in my work the sense of peace and quiet that urban world was missing.
With a limited (mostly earth tone) palette, discreet mark makings subtly referring to nature, and simple compositions, I aimed to create paintings that evoke an ongoing state of contemplation and meditation. Paintings that would hold the viewer in the experience of the moment.
When I arrived in Japan two visual aspects of Japanese aesthetic had a great impact on me: Japanese ceramics and the architectural elements used as dividing/transitional devices: sudare, shoji screen, fusuma, frosted glass, etc
Japanese pottery, and more particularly the kinds which utilizes either natural glazes or no glazings at all, thus revealing the clay's earthen quality (such as Bizen pottery), gives forth quiet and mysterious emotions which resonate with the feelings I look for in my own work. As a painter I always want to push the possibilities of the medium by combining, for example, thick impastos with thin translucent layers, rough with smooth surfaces, light with dark tones. The materiality, the physicality, and the essence of the medium is very important to me. I like to stay close to the quality of paint in the same way that Japanese ceramists stay close to the medium of clay, earth, and ultimately nature.
The veiling effect of sudare, shoji screens and frosted glass, commonly found in Japanese interiors or exteriors where the other side is barely revealed or merely hinted at, caught my attention for they not only issue a sense of calm but also transit harmoniously between spaces, between interior and exterior, between the man-made and the natural.
The peaceful sense I was looking for in busy NYC I find here in Japan in the perfectly balanced straight line design of a lattice partition, the delicate translucence of a shoji paper screen, and in the earth tones of fired clay.
Between Nature and Structure represents a first attempt in combining reference to nature with subtle straight lines and overlay of translucent coats inspired by these Japanese aesthetic: playing with the notions of the discreetly revealed or discreetly hidden, while at the same time trying to communicate a deep sense of peace.

自然と構造の間

フランスで生まれアメリカで教育を受けたアーティストとして、私は主に北米のアーティスト達、マークロスコ、アドラインハルト、アグネスマーティンの深く、静かで、感情豊かな表現に影響を受けてきました。 マンハッタンの中心部、賑やかな34番街にあるスタジオで長年制作し、都会独特の芸術的エネルギーに刺激を受け、活気づけられながらも、その絶え間なく続く騒音から遠ざかるようにしてきました。そしてその世界に欠けている平和と静寂の感覚を作品の中に求め始めました。 そのほとんどがアーストーンであるとても制限された色彩のパレットや自然を微妙に表す控えめなマークメイキング、そしてシンプルな構成によって、継続的熟考と瞑想状態を呼び起こし、ヴューアーがその瞬間の体験に引き込まれるような絵画を私は目指しています。 日本に到着した時、日本の持つ視覚的美意識のうちの2つが私に大きな影響を与えました。それは陶器と、空間の外から内へ、内から外へと移行する装置して使用される建築的要素えある、すだれ、障子、ふすま、すりガラスなどです。 あの忙しいニューヨークの生活の中で探していた穏やかな時間を、完璧にバランスの取れた格子仕切りの直線デザイン、繊細な半透明の障子紙、そして土を焼成した陶器にみつけたのです。 今回の個展のテーマ、「自然と構造のあいだ」は、自然の在り様と微妙な直線とを組み合わせ、そして更に、日本の風土にインスパイアされた半透明のコートを重ね合わせています。それらの要素が見え隠れしながら、深く穏やかな感覚へと通じていく意図を持つ初めての試みです。
Gallery in Boston

CHASE YOUNG GALLERY
BOSTON
chaseyounggallery.com

blank space

GRUEN GALLERIES
CHICAGO
gruengalleries.com

blank space
painting

Evoking haiku with its austere prosody, Nathalie Guarracino narrows her palate and stages on her canvases a nuanced play of cumulative textures and ghostly shapes. Her paintings transmit an accidental complexity that has no beginning or end. Despite being unfathomable, the whole vibrates to the tone of a possible awakening. Joining a devotion to painterly materiality with an imagination of the matter of moments-the smell of rain, the wetness of air, the sounds of water entering earth - Guarracino's work transports us to a place we have always inhabited, but which we can never understand. Only live and celebrate.

Rene V. Arcilla

New York University's Steinhart School, author of Mediumism: A Philosophical Reconstruction of Modernism for Existential Learning.