Argentine artist Celina Baldasarre presents until August 31, an exhibition of drawings and collages at the Borges Cultural Center (CCB).
This exhibition is part of La Línea Piensa, a project directed by Luis Felipe Noé and Eduardo Stupia in the CCB since 2006.
Paper and graphite, articulated in different sizes, unfold throughout the great white room.
“On the unusual and demanding support of huge rolls of paper, one of whose formats are more than three meters high” different universes of the line are displayed. *
Medium works in tracing paper are arranged in sets forming diptychs or triptychs: “geological” landscapes, with volcanoes exploding, plains, water mirrors. In the manner of Japanese landscapes, through the different shades of black and whites, empty and full are generated.
Is there a direct reference to Japanese painting and drawing?
Yes, there is because I love the dreamlike and romantic oriental painting and the expressiveness of calligraphy.
Was the montage of large-format paper a challenge? How did you define it and how was the rest of the work structured?
I have been developing the drawing rolls for more than 5 years.
The process of making them is interesting because I never see the totality, but I am unrolling the free parts while rolling up what I was already doing.
When Eduardo invited me to participate, he immediately asked me if I still had them because the Borges is a very large room and has to be unwound to cover its entirety.
What does an individual exhibition represent for your career as an artist, supported by Eduardo Stupia?
I was very happy to hear Eduardo propose an individual exhibition in the Linea Piensa. It was a great challenge to face the exhibition thinking about the whole space. My work currently focuses on small-format collages, but Conflict and Harmony bring together several large-format drawings, many of which I had never shown before. Eduardo gave me the necessary confidence, I felt very accompanied in the whole process of thinking about what works were going to be shown and their locations.
Do you feel your work as a continuation of his technique or how are you different from your teacher?
I took classes with Stupia for two years at the Di Tella University. I had been drawing in charcoal for a long time.
His classes opened new techniques and ways to address them. I still remember some of his phrases as mantras when I work, “the drawing is mandatory.” To think that I am his continuator is too much, he, besides being a great artist, is an excellent teacher and mentor.
* Eduardo Stupia, Catálogo “Conflicto y Armonía” Celina Baldasarre, Proyecto Línea Piensa, muestra 111, Centro Cultural Borges
© Images: Celina Baldasarre
